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POLITE  AND  SOCIAL  DANCES 


A  COLLECTION  OF  HISTORIC  DANCES, 

SPANISH,  ITALIAN,  FRENCH,  ENGLISH, 

GERMAN,  AMERICAN 


With  Historical  Sketches,  Descriptions  of 

the  Dances  and  Instructions  for 

Their  Performance 


COMPILED  AND  EDITED  BY 

MARI     RUEF     HOFER 


Price  $1.25 


CHICAGO 
CLAYTON  F.  SUMMY  CO.,  429  SO.  WABASH  AVE, 


Copyright  1917  by  Clayton  F.  Summy  Co. 


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Polite  and  Social  Dances 


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EARLY  POLITE  AND  SOCIAL  DANCES 


Page 

March  des  Rois Lully  3 

Pavane  Ancient  Song  Form.  .  .Arbeau's  Orchesographie  5 

Pavane French  6 

Pavane  Favorite  de  Louis  XIV Brisson  7 

Pavane  Italienne  XVI  Cent Old  Italian  '.) 

Pavane  The  Earl  of  Salisbury Wm.  Byrde  10 

Allemande Joh.  Matthesoii  1 1 

AUemande Arr.  Couperin  13 

Pazzamezzo  XVI  Cent Old  Italian  14 

Sarabande Handel  15 

Tambourine    Martini  16 

Passepieds   liidn'  Campra  17 

Sicilian    Reinecke  1 8 


Page 

Chelsea  Reach Old  English     20 

Le  Grande  Pere Old  German     2 1 

Menuet  d'Exaudet Exaudet     23 

Menuet  de  la  Cour Coote     25 

Menuet  du  Dauphinc 27 

Menuet Boccherini     29 

Minuet  Don  Juan Mozart     31 

Gavotte  de  Vestris de  Vestris 

Gavotte Lully 

Gavotte  Favorite  de  Marie  Antoinette Xettstedt 

Gavotte  and  Musette ' Bach 

Bourree Bach 

Polonaise Bach 


Princess  Polonaise Lcutner 


10 


LATER  FIGURE  DANCES 

Sir  Roger  de  Coverly Colonial  Airs     13 

Cavalier  and  Lady  White  Cockade 

British  Grenadiers  Washington  Quickstep 

Country  Dance  The  Rout 

The  Girl  I  Left  Behind  Me  We  Won't  Go  Home  Till  Morning 

Moran's  Cotillion.  V.  .;.;.'.:.'.  ,' arr.  by  M.  Charmande     18 

,;   ,  ;  . ,  ,   ;  1  ■ .  "  :  Evalina      '.  Louise 

<<'<<.";  .^  . '.■      Maigarct  Juliet 

Lavinia  Claire 


Lancers  Quadrille Dodworth     54 


Introduction 
Les  Lignes 
Les  Moulinets 


Les  Visites 
Les  Landers 


American  Quadrille Popular  Songs     60 


A  Life  on  the  Ocean  Wave 
Little  Brown  Jug 

Le  Tempete  Originale Country  Dance     61- 

La  Boulanger 61 


Nancy  Lee 

The  Minstrel  Boy 


Dixie 


La  Carillon  de  Dunkerque Ancient  Branle     65 

Garcon  Volange French  Country  Dance     66 


AMERICAN  DANCES 


Spanish  Dance Progressive  Dance  67 

The  Tempest Line  Dance  68 

Devil's  Dream Barn  Dance  68 

Cicillian  Circle 60 

Arkansas  Traveler Reel  69 


Money  Musk Barn  Dance 

Old  Dan  Tucker Barn  Dance 

Pop  Goes  the  Weasel Song  Dance 

Patronella Country  Dance 

Captain  Jinks Song  Dance 


POLITE  AND  SOCIAL  DANCES 


INTRODUCTION 


It  is  not  the  province  of  this  book  to  write  a  liistory 
of  the  dance.  To  assist  somewhat  in  clearing  up  the 
mystery  and  vagueness  surrounding  tlie  old  dances 
and  make  them  a  little  more  available  to  the  modern 
student,  is  the  extent  of  its  mission.  The  prepara  • 
tion  of  the  pageants  for  the  Hudson-Pulton  Celebra- 
tion in  1908,  necessitated  collecting  music  for  the 
various  periods  of  history  to  be  represented.  To 
illustrate  seventeenth  and  eighteenth  century  scenes 
with  modern  music,  seemed  an  absurdity.  More  defi- 
nite knowledge  concerning  interpretation  of  the  old 
dance  directions,  scattered  here  and  there  in  the 
libraries,  was  also  required.  These  and  many  other 
needs  started  the  research  which  has  produced  this 
volume.  In  the  preparation  of  this  work,  the  editor 
wishes  to  acknowledge  the  assistance  of  such  author- 
ities as  Zorn,  Bohme,  Desrat,  Vullier,  and  later 
writers  on  the  dance;  also  the  examples  of  many 
living  experts  of  this  art,  and  the  inspiration  derived 
from  many  volumes  dealing  with  art,  history  and 
literature,  with  which  to  corroborate  the  casual  rec- 
ords available.  Since  their  initial  use,  the  dances 
and  music  have  been  tested  in  many  pageants :  July 
4th,  University  of  Virginia,  1908-9-10;  Appalachian 
Exposition,  Knoxville,  Tenn.,  1910;  History  of  Cali- 
fornia, University  of  California,  Berkeley,  191 1 ; 
Canadian  History,  Toronto,  1913;  History  of  Okla- 
homa, S.  S.  Normal,  Edmund,  1914;  Peace  Pageant, 
Chicago,  1915;  Woman  in  the  Building  of  Nations, 
Panama  Exposition,  1915;  and  on  many  other 
occasions. 


Comment 

In  our  day  dancing  is  a  factor  to  be  reckoned  with. 
Its  revival  uncontrolled  by  knowledge  of  its  history 
or  standards  of  good  taste,  has  resulted  in  a  mixture 
of  good  and  bad  features,  resulting  in  a  temporary 
indulgence  of  the  sensuous  at  the  expense  of  the  intel- 
lectual and  aesthetic  qualities  of  the  dance.  The 
close  connection  between  present-day  social  reform 
and  good  form  is  leading  us  to  search  into  the 
recreational  interests  of  the  people,  only  to  find 
therein  most  vital  analogies  to  the  moral  life.  The 
history  of  the  dance  is  a  history  of  social  expression 
of  all  times  and  of  all  classes  of  men,  and  as  such 
should  hold  some  place  in  education. 

The  Playground  Movement  is  helping  to  establish 
a  normal  social  attitude  toward  the  subject;  but 
even  here  w^e  lack  balance  and  standardization.  A 
merely  technical  basis  for  teaching  this  most  human 
of  arts  is  entirely  false.  Invariably  a  dance  is  per- 
formed by  the  folk  long  before  it  is  written  down. 
A  native  dancer  can  jig  and  reel  for  you  perfectly, 
but  can  seldom  tell  you  how  he  does  it.  If  you  have 
the  wit  to  catch  his  step  it  is  yours  for  the  having. 
The  new  use  of  the  dance  should  combine  the  genius 
and  invention  of  the  people  with  the  polish  and  per- 
fection of  its  art  values.  A  study  of  the  old  forms 
with  their  careful  balance  of  sentiment,  their  re- 
straint and  good  manners,  refined  and  beautified  by 
wholesome  musical  accompaniment,  will  aid  us  in 
finding  the  higher  meaning  of  this  revived  art.  It  is 
the  hope  of  the  editor  that  this  meager  sketch  may 
emphasize  a  sense  of  the  social  implications  and 
amenities  of  the  dance,  thereby  encouraging  and 
furthering  happy  intercourse  among  young  people. 


636622 


\ 


HISTORIC  SKETCH 

"Dancing  is  silent  poetry. "— Simonides 


Dances  of  the  Ancients 

Egyptian. — The  fragmentary  remains  of  the  an- 
cient dances  all  point  to  their  being  religious  and 
ceremonial,  performed  as  acts  of  worship.  The 
Astronomic  dances  of  Egypt  were  expressed  in  mys- 
tical, circular  measure  or  in  cubic  form — from  east 
to  west  and  west  to  east,  sunwise  rhythmic  advances 
and  retrogressions — corresponding  to  the  celestial 
motions  of  the  planets.  These  sacred  rounds,  danced 
on  the  mother  soil  of  Egypt,  under  "bright  sidereal 
stars,"  established  our  first  dance  forms.  Later  pic- 
torial records  show  a  tendency  towards  the  expres- 
sion of  human  passions  in  popular  life.  From  its 
first  function  in  accompanying  serious  religious 
rites  or  representing  the  fury  of  warfare,  Egyptian 
dancing  passed  on  to  depicting  the  gaiety  of  pastoral 
sports,  the  dignity  and  graces  of  society,  the  splen- 
dors of  the  festival,  the  languors  of  love,  or  the  sor- 
rows of  the  funeral  train. 

Hebkew. — The  Hebrews  inherited  their  Hieratic 
dances  from  Egypt  and  we  find  traces  of  ceremonial 
and  processional  dances  thruout  the  Old  Testament 
— e.g.,  Miriam  at  the  Red  Sea,  Jephthah's  Daughter, 
David  before  the  Ark,  which  are  examples  of  tri- 
umphal and  laudatory  dancing.  They  also  danced, 
in  honor  of  spring  and  harvest,  and  important  social 
ceremonies,  often  borrowing  motives  from  Oriental 
and  other  unregenerate  environment.  In  the  later 
Jehovah  or  One  God  worship  of  the  Hebrews,  the 
sidereal  strophe  and  antistrophe  became  the  antipho- 
nals  of  the  Psalms,  in  which  the  "hills  skipped  like 
rams,  and  the  mountains  clapped  their  hands,  and 
danced  together."  The  Hebrews  have  few  Folk 
Dances  because  their  art  expression  was  all  of  a 
highly  intellectual  order  and  devoted  to  the  service 
of  religion. 

Greek. — Dancing  came  to  its  full  flower  in  the  civ- 
ilization of  the  Greeks.  Their  development  of  the 
subject  included  all  the  types  practiced  before  the 
Grecian  era,  while  the  magic  of  Hellenic  skies,  com- 
bined with  great  resource  of  mythical  lore,  led  their 
joyous  spirits  to  expand  into  myriad   expressive 


motor  forms.  A  few  prominent  classes  of  Greek 
dances  are  cited. 

The  Hyporchema  retained  all  the  Egyptian  char- 
acteristics and  was  preeminently  religious.  Aided 
by  choral  accompaniment,  this  primitive  song  in 
action  depicted  in  measured  and  symbolic  gesture 
the  images  of  heroic  verse.  These  dignified  and 
elevated  performances  rehearsed  the  deeds  of  the 
Gods  and  were  solemnized  around  altar  or  statue. 
Hymns  were  sung  in  three  parts — strophe,  turning 
from  east  to  west;  antistrophe,  from  west  to  east; 
epode  or  end  of  song,  in  front  of  the  altar — a  Pin- 
daric Ode  in  action. 

The  Emmeleia  set  forth  grace,  majesty  and 
strength,  and,  according  to  Plato,  "showed  the  grav- 
ity and  nobility  of  sentiment  which  a  mortal  should 
hold  when  he  invokes  the  Gods. ' '  These  dances  were 
performed  without  the  support  of  music  and  pro- 
duced a  deep  impression  on  spectators. 

The  Gymnopoedia  was  danced  by  young  men  in  the 
Festival  of  Apollo,  and  displayed  the  vigorous  bodily 
movements,  agility,  suppleness  and  strength  typify- 
ing the  actions  of  victorious  youth.  Our  gymnastic 
dancing  is  probably  drawn  from  this  group,  as  the 
name  signifies.  These  dances  usually  preceded  the 
Pyrrhic  dances,  which  were  warlike  portrayals  of 
attack  or  feintings  with  spear  and  shield. 

Pyrrhic  and  Memphitic  dances  were  military  pan- 
tomimes, sometimes  performed  at  funerals,  and  pic- 
turing the  valiant  deeds  of  the  deceased.  Pyrrhus 
thus  danced  at  the  funeral  of  his  father  Achilles, 
describing  his  valor.  The  Amazons  of  Argos,  Arca- 
dia and  Sparta  indulged  in  this  dance  with  ardor. 
According  to  Plato,  this  dance  consisted  of  such 
bodily  movements  as  avoided  blows  and  missiles  by 
springing  to  one  side,  leaping  backward,  stooping, 
movements  illustrative  of  shooting  arrows  or  of 
throwing  spears. 

The  Geranofi  is  variously  interpreted,  sometimes 
as  an  archaic  religious  dance;  sometimes  as  a  pas- 
toral dance  celebrating  the  return  of  the  crane  in  the 
springtime,  showing  its  flight  gnd  other  movements. 
The  Geranos  was  also  supposed  to  figure  the  endless 


windings  and  turnings  of  Theseus  in  iiis  efforts  to 
free  himself  from  the  Labyrinth.  From,  this  in  turn 
probably  emanated  the  Labyrinthian  dance,  usually 
performed  by  peasants  on  returning  from  the  vine- 
yards with  their  mules  laden  with  panniers  of  grapes. 
Leaving  their  harvest  by  the  wayside,  they  joined 
hands  and  followed  a  leader,  who  by  waving  a  hand- 
kerchief initiated  all  manner  of  intricate  figures. 
Later  these  involutions  were  transcribed  into  the 
ancient  mosaic  floors,  thus  permanently  fixing  the 
patterns  of  the  maze,  and  producing  the  first  Chore- 
ography, or  dance-writing,  known  to  the  world.  As 
in  sculpture,  the  Greeks  divined  and  perfected  all 
the  possibilities  of  its  sister  art  of  the  dance.  We 
show  our  good  sense  and  taste  when  we  consult  its 
criterions,  and  follow  its  laws. 

Roman. — It  is  said  that  the  "austerity  of  the  an- 
cient Eomans  arose  much  more  from  poverty  of 
imagination  than  from  conviction."  This  was  exem- 
plified in  the  early  deterioration  of  the  classical  arts 
among  them.  Less  fortunately  situated  than  the 
Greeks,  geographically  more  in  the  arena  of  attack, 
they  rapidly  became  a  people  of  war  and  conquest, 
representing  to  the  world  of  their  times  something 
of  the  commercial  and  practical  aspect  of  our  own. 
Much  of  their  art  was  copied  from  the  Greeks,  but 
in  later  days  the  people  of  the  great  empire  of  might 
lost  interest  in  things  artistic  and  preferred  to  sit 
in  the  amphitheaters,  watching  the  games  of  the 
circus,  or  the  spectacle  of  fighting  gladiators,  or 
men  struggling  with  beasts  in  the  arena.  The  dance 
was  relegated  mostly  to  professionals,  who  thus 
entertained  their  patrons '  hours  of  ease  and  pleasure. 
With  the  Romans,  the  dance  played  no  part  in  the 
severer  training  of  youth,  as  it  did  with  the  Greeks. 
Stern  and  primitive  I^me  possessed  but  one  war 
dance,  the  heroic  Belli^pa.  However,  the  art  of 
Pantomime  is  attributable  especially  to  them,  and  the 
perfection  of  their  mimes  is  much  commented  on. 
Noble  subjects  such  as  the  "Labors  of  Hercules"  and 
other  classic  tales  were  inimitably  rendered  by  means 
of  this  art.  But  even  these  exhibitions  degenerated 
into  buffoonery  and  license.  With  the  fall  of  the 
Roman  Empire,  the  influx  of  new  races  from  the 
North  and  of  the  new  religion  from  the  South,  all 
the  old  arts  and  customs  were  swept  away,  and  for 
many  centuries  no  distinct  art  of  the  dance  was 
known  either  to  Italy  or  Greece. 

Religious  Dancing  of  the  Middle  Ages 
Thru    the    early    Christian    Centuries,    dancing 
showed  itself  in  various  fanatical  and  morbid  out- 
bursts, representing  the  disturbed,  transitional  state 
of  civilization.    The  early  Christian  Mysteries  were 


celebrated  in  dignified  hymns  and  pantomimic 
dances,  portraying  the  joys  of  Heaven  and  the  ter- 
rors of  Hell.  In  these  performances  the  actors  were 
dressed  as  devils  and  angels,  God  rendering  judg- 
ment, and  the  wicked  being  realistically  thrust  into 
the  fiery  pit.  These  dramas  were  often  performed 
in  churchyards  in  honor  of  the  martyred  dead.  Such 
morbid  conceptions  as  the  "Dance  of  Death,"  a 
painted  skeleton  in  pursuit  of  a  human  victim,  and 
"The  Devil's  Dance,"  showing  his  Satanic  Majesty 
similarly  employed,  are  numerous  in  the  old  prints. 
Dances  were  often  performed  in  the  course  of  re- 
ligious processionals,  such  as  the  "Els  C osiers"  in 
Spain,  in  which  the  clergy  took  part.  In  later  days 
the  "Corpus  Christi  Pageants"  were  often  inter- 
rupted by  bands  of  strolling  ballet  dancers,  who 
would  entertain  onlookers  during  the  pauses.  For  a 
time  the  religious  dramatic  element  predominated  in 
Bible  plays  and  pageantry,  in  which  carols  and 
hymns  were  danced  as  well  as  sung.  Later  a  dancing 
mania  or  frenzy  prevailed  thruout  Europe,  ending 
in  a  disease  termed  St.  Vitus  Dance. 

Folk  Dancing 

Thruout  all  the  centuries  of  Europe  during  the 
Middle  Ages  the  dance  was  much  cultivated  by  the 
peasants  and  among  the  trades-people.  The  latter 
in  their  Guilds  developed  the  motives  of  their  trades 
into  spectacular  exhibitions  of  shoemaking,  tailoring, 
coopering,  weaving,  washing,  and  other  industrial 
themes  in  endless  variety.  Apprentice  songs  and 
dances  with  accompanying  action  of  the  particular 
trades  they  represented,  were  composed  and  enacted 
at  the  yearly  Guild  festivals.  All  homely  occupa- 
tions of  the  field,  the  hearthstone  or  the  workbench 
were  thus  recorded  and  again  claim  our  attention  in 
the  fragmentary  forms  of  the  present  revived  Folk 
Dances.  These  dances  represent  the  vigorous  and 
forceful  rhythms  which  would  accompany  the  move- 
ments of  labor,  and  make  a  very  important  contribu- 
tion to  the  art  of  song  and  the  dance.  The  imposing 
spectacle  of  the  Guild  festivals  and  pageants  with 
their  characteristic  ceremonies  are  a  distinct  con- 
tribution to  the  art  of  pageantry.  This  is  well  re- 
corded in  Wagner's  "Die  Meistersinger. " 

The  Renaissance  of  the  Dance 
The  Crusades  and  the  Age  of  Chivalry  opened  the 
way  for  a  great  commingling  of  people,  races  and 
traditions,  which  gradually  bore  fruit  in  a  new  period 
of  culture  and  art.  Crude  conditions  of  society  were 
reorganized  on  a  higher  level.  The  worship  of  ideals 
of  womanhood  and  childhood,  started  by  the  new 
religion,  lifted  dull  passion  to  a  plane  where  fine 


8 


thoughts  produced  fine  actions.  A  code  of  honor 
brought  into  existence  a  code  of  manners.  Chivalry 
of  man  became  counter-balanced  by  trustfulness  in 
woman.  This  gave  rise  to  amenities  which  could 
easily  be  incorporated  into  the  language  of  the  dance. 
Greetings,  meetings,  bows,  precedence,  surprise,  pur- 
suit, disagreement,  reconciliation — the  thousand 
variations  in  the  themes  of  friendship  or  love — now 
became  dance  motives. 

The  Renaissance  again  set  free  the  ancient  culture 
of  Greece  which  had  slumbered  for  ten  centuries, 
and  gave  new  freedom  to  art  in  all  directions.  Hu- 
manity regained  its  emotional  poise.  Joy,  art  and 
religion  threw  off  their  mourning  and  joining  hands 
walked  jubilantly  forward  together. 

Dances  of  Spain 
The  reconstruction  of  the  dance  art,  during  this 
period,  started  from  the  South.  The  formal  and 
austere  Court  of  Spain  developed  the  processional 
dance  into  a  dignified  and  imposing  spectacle.  The 
Pavane  was  a  pageant  of  splendid  costume  and 
courtly  grace.  During  the  rivalries  of  Spain  and 
England  and  the  conquest  of  the  Spanish  Main, 
Spanish  culture  became  influential  throughout  Eu- 
rope. The  Pavane  quickly  became  incorporated  into 
the  social  life  of  the  Courts,  and  embryonic  folk  and 
national  dances  were  developed.  During  this  period 
the  now  famous  Morris  dance,  of  Moorish  origin, 
was  bodily  transported  into  England  by  her  jolly 
sailors.  From  its  semi-oriental  setting  in  a  Moorish 
interior  it  was  carried  into  the  rugged  country  life 
of  every  Shire  in  England.  One  can  see  its  mincing 
entrance  at  the  parlor  door  of  a  Queen's  levee,  and 
its  exit  thru  the  servants'  hall  out  among  the  lads 
and  lasses  on  the  village  green.  Hence  its  incon- 
gruities, from  tinkling  ankle  bells,  ribbons  and  tissue 
veils  to  its  yeoman  top  hat  and  boots.  Other  dances 
of  Spanish  origin  also  became  known — the  Galliarde, 
Tordion,  Courante,  Chaconne,  Passacaille.  These 
speedily  became  musical  forms  in  the  hands  of  the 
musicians  of  the  period. 

The  Branle 
The  Branle,  or  more  familiar  Brawl,  seems,  upon 
good  authority,  to  be  considered  the  source  of  all 
French  dancing,  whether  reading  backward  to  the 
people  or  forward  into  the  polished  art  of  Court 
dancing.  Just  what  a  Branle  is,  these  same  authori- 
ties do  not  clearly  state.  However,  from  the  many 
hints  given  we  may  find  in  the  Branle  the  beginnings 
of  form,  such  as  small  and  large  groups  dancing  to- 
gether, couples  placed  opposite  each  other,  or  figures 
danced  in  procession.    New  figures  and  steps  also 


appear  to  have  been  tried  out  in  prolific  abundance 
by  expert  native  dancers  among  the  people,  long 
before  Royalty  affected  them.  The  Branle  was  the 
natural,  indigenous  expression  of  the  French  people, 
as  the  Country  Dance  was  of  the  English  people. 
Both  are  representative  of  national  and  tempera- 
mental qualities  which  led  later  to  schools  of  dancing, 
extended  on  these  fundamental  lines.  These  dances 
flourished  in  all  the  provinces  of  France  and  like  the 
ancient  Carolles  were  named  after  their  particular 
districts.  Poitou,  Champagne,  Gascony,  Burgundy, 
were  all  famous  for  their  Branles.  They  were  mostly 
accompanied  by  songs  and  appropriate  rhymes  of 
the  "singing  game"  type.  Indeed,  many  a  French 
nursery  rhyme  yet  extant  cloaks  an  ancient  Branle. 
The  Carillon  de  Dunkirque,  still  danced  by  modern 
children,  is  quoted  as  one  of  the  most  popular  of 
these.  From  its  tappings  and  clappings,  and  lively 
spirit,  we  may  infer  the  motifs  of  the  original  Branles 
to  have  been  not  unlike  the  so-called  Folk  dances 
we  have  been  reviving. 

As  in  the  case  of  the  Folk  dance,  there  was  a  Branle 
for  every  interest  and  occupation.  There  were 
Branles  gay  and  sad;  a  sabot,  blanchiessuse,  torch 
and  weaving  Branle;  a  horse  and  a  monk  Branle, 
with  accompanying  imitations.  There  were  Branles 
for  young  and  old  and  for  all  timescand  occasions; 
single  and  double  Branles,  some  in  simple  squares 
and  others  which  resolved  themselves  into  grand 
Rondes,  like  a  ball-room  Polonaise.  As  time  went 
on  the  earlier  significance  of  the  Branle  was  lost  in 
the  Folk  dance,  or,  becoming  polished  by  usage, 
became  part  of  social  ceremonial,  insomuch  that  all 
the  balls  of  Louis  XIV  opened  with  them  and  Kings 
and  Princes  disported  themselves  in  these  innocent 
peasant  forms.  So  much  for  the  vigorous  begin- 
nings from  which  sprang  some  of  the  later  delicate 
and  poetic  creations  of  French  dancing. 

Dances  of  Other  Countries 
In  1600  the  "Great  Century"  of  the  Dance  had 
begun.  Its  evolution  is  traced  thus : — from  Spain 
to  Italy,  from  Italy  to  France,  from  France  to  Ger- 
many and  England.  In  all  these  countries  a  body 
of  folk  dances  had  accumulated  among  the  people, 
which  were  popular  at  country  festivals  and  kir- 
messes.  While  the  trades-people  in  connection 
with  their  Guilds  were  inventing  and  perfecting 
industrial  themes  to  their  hearts'  content,  the  higher 
classes  levied  on  this  material  to  vitalize  their  own 
dances,  or  give  spice  to  some  royal  High  Jinks. 
On  occasions  Good  Queen  Bess  would  rollick  through 
a  Dargason  or  Trenchmore,  to  the  delight  of  her 
admiring  subjects.    The  ancient  group  dances,  coun- 


try  contra,  line  and  circle  dances,  of  the  boisterous 
barn  dance  species,  then  became  established  for  all 
time;  in  Germany  the  Reigen  and  Zuenfte  dances, 
in  France  the  Rondes  and  Basse  dances,  in  Italy  the 
Ballads  and  Grotesques.  From  the  last  mentioned 
originated  the  Ballet  and  Masquerade.  Each  coun- 
try was  enriched  by  its  own  characteristic  forms  in 
addition  to  sharing  in  the  growing  art  of  the  dance. 

Masques  and~  Grand  Ballets 

The  period  just  previous  to  the  "Golden  Noon" 
of  the  Dance  was  devoted  to  the  production  of  mag- 
nificent ballets  and  dance  dramas.  In  France  these 
choregraphic  spectacles  were  encouraged  by  the 
Courts  of  Francis  I,  Catherine  de  Medicis  and 
Henry  IV,  by  Cardinals  and  by  all  the  literary  and 
musical  geniuses  of  their  time.  These  productions 
were  not  the  creations  of  professionals  or  hirelings, 
but  events  in  which  Royalty  itself  freely  took  part. 
The  Grand  Ballet  d 'Action  assembled  all  the  ele- 
ments of  the  dance  then  extant;  it  stimulated  theat- 
rical dancing,  it  revived  the  spirit  of  the  Greeks, 
and  choregraphy  again  became  necessary  in  order 
to  register  these  large  forms.  Finally  through  the 
personal  efforts  of  Louis  XIV  the  Terpischorean 
art  became  one  of  the  accepted  customs  of  the  French 
people. 

Louis  XIV  and  the  Dance 

The  famous  Ballets  of  the  Grand  Monarque  were 
a  reincarnation  of  the  formal  Masques  and  statelier 
pageantry  of  the  Courts  of  the  previous  century. 
In  the  magnificent  ball-rooms  of  the  Tuilleries,  the 
Louvre,  Versailles  and  Fontainebleu  were  pre^nted 
these  triumphs  of  art,  in  twenty-seven,  of  which  the 
Grand  Monarque  himself  took  part.  A  few  of  the 
subjects  interpreted  were  "The  Ballet  of  the  Night," 
in  which  the  king  took  the  part  of  "  Le  Roi  Soleil ; ' ' 
"Prosperity  of  the  Arms  of  France;"  "Grand 
Ballet  du  Roi;"  "Ballot  of  the  Muses;"  "Ballet 
of  Hercules;"  also  such  Comedies  as  the  "Ballet  du 
Carrousel;"  "Game  of  Picquet;"  "Impatience;" 
all  huge  pantomimic  stories,  danced  out  with  most 
elaborate  art  and  attention  to  detail.  These  Ballets 
were  often  intermezzos  to  the  plays  of  the  great 
literary  men  of  the  period,  Racine,  Moliere  and 
Corneille.  They  were  danced  by  kings  and  prin- 
cesses, who  entered  intelligently  into  the  spirit  of 
the  works  of  the  master  playwrights.  Beauchamp, 
the  inventor  of  choregraphic  writing,  together 
with  the  great  dancers,  Pecour,  Le  Basque,  Dupre 
and  Ballon,  developed  and  staged  these  royal  revels. 
Lully,  Rameau,  and  later  Mozart,  Gretry  and  Boc- 


cherini  composed  music  for  the  scenes.  King,  po 
and  musician  united  their  efforts  to  produce  th 
apotheosis  of  the  dance.  Steps  were  tested,  namt 
and  classified  until  gradually  a  theorie  de  la  dan, 
was  established.  The  Ballet,  as  we  have  known 
for  the  last  few  centuries,  was  brought  at  that  tin 
into  lasting  connection  with  Grand  Opera,  ai 
served  as  interludes  to  plays.  Henceforth  tl 
French  ceased  to  depend  on  Spanish  and  Italij 
inspiration,  and  themselves  became  the  foremo 
exponents  of  the  art  of  dancing. 

Classical  Dancing  and  Classical  Music 

Historic  analogy  shows  us  the  period  of  classic 
dancing  running  parallel  with  classical  musi 
Whether  dancing  drew  its  inspiration  from  mus 
or  vice  versa,  it  is  difficult  to  say.  Both  these  art  e 
pressions  had  been  preceded  by  generations 
natural  folk  song  and  dance,  and  the  later  compose 
of  music  could  easily  follow  the  lines  already  w( 
set  in  nature  and  the  life  about  them.  The  earlie 
dances  were  usually  sung,  the  voice  guiding  tl 
rhythm  of  the  feet.  Certainly  the  best  dance  forn: 
composed  by  Bach,  Handel,  Mozart,  are  those  whii 
are  the  most  danceable,  and  at  the  same  time  tl 
most  playable.  Their  fascination  lies  in  the  stron 
pulsing  stream  of  rhythm,  on  which  the  pearls 
melody  are  strung.  The  early  classical  masters  i 
composed  for  the  dance — Lully,  Rameau,  Couperi 
Bach,  Gretry,  Gluck,  Boccherini.  When  the  famoi 
masters  of  the  dance,  Pecour,  Marcel,  Gardel,  s 
about  creating  a  dance  for  some  elaborate  Cou 
function,  they  sent  for  the  musician,  whose  office 
was  to  translate  the  delicate  imagery  of  their  ere 
tions  into  complementary  music.  Music  was  s 
interpretation  of  the  dance,  not  the  dance  of  tl 
music.  Hence  the  wonderful  characterization  ai 
lifelike  play  of  the  early  dance  music.  When  Bac 
Handel,  Haydn,  Mozart,  our  acknowledged  music 
classicists,  finally  transcribed  this  into  musical  fori 
a  riotous  exuberance  of  Rondos,  Gigues,  Bourree 
Adagios,  Andantes,  Allegros,  Prestos,  etc.,  lea; 
from  their  prolific  pens  to  remain  the  astonishme 
of  the  ages.  In  trying  to  characterize  the  classic 
spirit  of  that  time  it  must  be  said  that  both  the  danc 
and  music  most  exquisitely  express  a  delicate  poet 
sentiment  of  the  day.  A  highly  refined  social  ci 
ture  prevailed  and  people  sang  and  danced  ai 
dressed  up  to  its  standards.  The  intellectual  quali 
of  the  dance  of  the  period  not  only  required  gre; 
technical  skill  for  its  performance,  but  also  d 
manded  good  music  as  the  underlying  principle  i 
its  production.     When  moderns  wish  motives  f( 


10 


new  dances  they  must  needs  revert  to  these,  as  do 
artists  and  sculptors  of  our  day  to  the  pure  types 
of  earlier  periods  of  perfection. 

The  Minuet 

An  attempt  to  write  all  that  the  Minuet  implies 
would  necessitate  compiling  the  social  history  of 
France  during  several  centuries;  the  manners,  cus- 
toms, costumes,  art,  music,  and  ceremonies  of  the 
period  of  the  Grand  Manner,  as  well  as  the  manifold 
steps  and  forms  invented  in  its  behalf.  Arriving 
as  a  climax  in  the  art  of  the  dance,  in  a  period  of 
luxurious  national  life,  its  very  name  suggests  the 
refined  magnificence  of  the  courts  of  the  kings  in 
whose  century  it  flourished.  Millions  were  spent 
in  its  production;  musicians,  poets,  decorators,  art- 
ists and  costumers  exercised  their  combined  powers 
to  set  forth  its  perfections.  Its  despotic  ceremonial 
governed  kings  and  queens,  and  its  etiquette  decided 
the  fate  of  statesmen  more  often  than  their  ability 
in  statecraft.  The  dancing  teachers  of  that  day 
were  autocrats  to  whom  all  bowed  and  deferred. 
The  best  idea  of  its  importance  is  given  in  the  words 
of  Moliere,  who  jeeringly  said,  "today  the  destiny 
of  nations  depends  on  the  art  of  dancing. ' ' 

The  pictorial  art  of  the  time  of  the  best  period 
of  the  Minuet  was  inspired  by  such  masters  as 
Watteau,  Lancret,  Boucher  and  Latour.  They  filled 
the  boudoirs  and  salons  of  the  day  Avith  beribboned 
shepherds  and  shepherdesses,  posing  among  sheep 
in  meadows  of  tenderest  green.  From  the  palette 
of  Boucher  flowed  unending  idylls  of  "Love  and 
Eoses,"  exquisitely  set  in  "water-green,  pale  blue 
or  ivory  panels,"  relieved  by  gold  or  the  vivid, 
glowing  color  of  flower  beds.  It  was  a  reign  of 
daintiness  and  taste,  a  trifle  mincing  and  superficial, 
but  characterized  by  courtesy  and  charm  of  manner. 
Ladies  affected  rich  brocades  and  gauzy  tissues, 
mauve  ribbons,  long  gloves  and  bouquets,  wore 
patches  on  their  cheeks,  put  carmine  on  their  lips, 
and  encased  their  feet  in  dainty  high-heeled  shoes. 
In  this  time  of  the  perfection  of  all  the  arts,  the 
Minuet  was  set  like  a  gem  in  their  midst. 

In  the  rendering  of  the  Minuet  the  dancers  laid 
emphasis  upon  beauty  and  grace  of  movement  and 
ensemble.  No  one  danced  merely  for  his  own  enjoy- 
ment, but  rather  to  contribute  to  the  charm  of  the 
whole  and  to  the  impression  made  upon  the  observer. 
From  the  first  salutation,  throughout  its  progress, 
on  to  its  elaborate  conclusion,  the  Minuet  was  a  com- 
pliment shared  mutually  by  the  dancers  and  all  the 
guests  assembled.  It  was  the  dance  of  high  cere- 
mony, of  courtesy  and  chivalry,  interpreting  the 
most  exquisite  social  charm  and  personal  grace  on 


the  part  of  the  fair  sex,  combined  with  the  ideals  of 
chivalrous  gallantry  on  the  part  of  the  gentilhomme. 
In  spite  of  this  ultra  refinement  arising  out  of  its 
association  with  Court  life,  the  Minuet,  like  the 
Gavotte,  claims  a  folk  ancestry  in  the  Branle  of 
Poitou.  Among  the  people,  it  is  said  to  have  been 
a  gay  and  lively  dance,  "simple,  yet  not  without 
distinction. ' '  But  when  it  was  adopted  by  the  Court 
of  Louis  XIV  it  took  on  the  slow  and  grave  character 
of  the  other  ceremonial  dances.  Pecour,  its  greatest 
devotee,  says  the  characteristic  of  this  dance  is  a 
"noble  and  elegant  simplicity;  its  movement  is 
rather  moderate  than  rapid,  and  one  may  say  it  is 
the  least  gay  of  all  such  dances. "  The  Minuets  most 
famous  in  the  history  of  dancing  are  the  Menuet 
de  la  Cour,  the  Menuet  d'Exaudet,  the  Menuet  de  la 
Reine,  and  the  Menuet  de  la  Dauphine.  As  to  its 
performance  we  are  told  that  in  "set  balls"  the 
King  and  Queen  were  appointed  to  open  the  dance. 
After  the  first  dancing  was  over,  a  fresh  cavalier 
was  chosen  by  the  Queen  and  each  in  turn  chose 
another  partner;  thus,  in  cumulative  fashion,  all  in 
turn  joined  in  the  dance.  The  favorite  "Don  Juan" 
Minuet  by  Mozart,  written  after  the  time  when  the 
character  and  style  of  this  dance  had  been  definitely 
set,  shows  a  decided  imitation  of  the  Menuet  de  la 
Cour. 

The  Gavotte 

It  is  with  the  greatest  satisfaction  that  all  author- 
ities chronicle  the  Gavotte  as  directly  descended 
from  the  old  Branle,  or  double  Brawl,  of  the  peas- 
antry of  France.  This,  after  the  supreme  perfection 
of  the  Minuet,  is  a  compliment  to  the  native  genius 
.of  the  people,  as  well  as  to  the  appreciation  shown 
by  the  Haute  Noblesse.  Its  folk  origin  is  directly 
traced  to  the  Gavats,  the  mountain  peasants  of  Gap 
in  Dauphiny,  in  whose  costume  it  was  first  danced 
at  the  court  of  Louis  XV.  Later,  as  the  favorite 
of  Marie  Antoinette,  the  Gavotte  became  a  perfected 
dance  of  fashion  and  skill.  AVhat  was  popular  under 
Louis  XV  became  supreme  under  Louis  XVI.  Pol- 
ished out  of  all  semblance  to  its  progenitor,  the 
cruder  Brawl,  it  was  finally  regarded  as  the  full 
flower  of  all  dancing  art. 

"NAHien  at  its  best,  the  Gavotte  is  a  joyous,  spark- 
ling, lively  dance,  distinguished  by  "many  little 
steps."  The  great  artist  de  Vestris  describes  it  as 
consisting  of  "three  steps  and  an  ensemble."  Littre 
says  "the  steps  of  a  Gavotte  differ  only  from  the 
natural  walking  step  in  that  one  springs  upon  the 
foot  which  is  bn  the  ground,  and  at  the  same  time 
points  the  toe  of  the  foot  downward."  It  is  further 
described  as  "the  skillful  and  charming  offspring 


11 


of  the  poetic  Minuet,  sometimes  gay,  but  often  slow 
and  tender,  interspersed  witli  kisses  and  bouquets." 
It  appeared  as  a  welcome  reaction  after  a  long  period 
of  strenuous  etiquette  devoted  to  dances  of  undoubt- 
edly tedious  elegance.  One  can  fancy  a  younger 
generation  of  Royalty  seizing  with  avidity  upon  this 
new  terpsichorean  delight.  It  soon  became  the 
fashion  to  follow  the  stately  measure  of  the  old 
dance  of  ceremony,  the  Minuet,  with  the  lighter  and 
more  vivacious  graces  of  its  rival.  Who  could  divine 
that  this  pleasant  breaking  away  from  the  stern 
formalities  of  Court  and  Caste  might  presage  so 
dire  and  devastating  a  calamity  as  the  not  far  distant 
French  Revolution! 

The  Decadent  Period 

"The  Reign  of  Terror,"  like  the  invasion  of  the 
Goths  and  Vandals  at  an  earlier  period,  swept  away 
in  its  merciless  path  all  the  inequitable  civilization 
of  centuries  of  extravagance  and  misrule.  With  it 
went  much  wrong  and  injustice,  also  much  that  was 
good  and  true  and  beautiful,  except  as  imperishably 
inscribed  in  such  works  of  art  as  survived  the  general 
destruction.  It  is  stated  that  during  that  "Mad 
Revel  of  Blood"  dancing  reached  a  point  of  frenzy. 
Dance  halls  were  opened  where  the  excited  populace 
nightly  exhausted  themselves  in  all  kinds  of  bizarre 
revels.  Here  the  rabble  appeared  in  elegant  dresses 
torn-  from  the  poor  victims  of  tlie  Guillotine,  bur- 
lesquing their  mannerisms  in  ribald  songs  and 
dances.  Tlie  once  famous  Salons,  now  presided  over 
by  the  "butchers,  bakers  and  candlestick  makers" 
of  the  new  Republic,  displayed  grotesque  caricatures 
of  the  elegancies  of  the  Old  Regime.  Following  this 
period  Paris  went  "Polka  mad."  This  dance  is 
attributed  to  a  Bohemian  peasant  girl  and  was 
danced  by  Carlotta  Grisi.  It  was  seized  upon  as 
representative  of  the  spirit  of  the  people  so  long 
suppressed,  and  became  the  favorite  of  the  populace. 
^  During  the  upheavals  of  the  Napoleonic  wars,  a 
feeling  of  intense  Nationalism  asserted  itself  and 
brought  to  the  surface  a  new  class  of  dances,  Ger- 
man, Bohemian,  Russian,  Polish  and  Hungarian; 
resulting  in  a  long  list  of  couple  dances,  viz. :  waltz, 
polka,  mazurka,  redowa,  varsovienne,  czardas,  gal- 
lop, schottisch,  etc.  These  were  danced  with  the 
wildest  enthusiasm  thru  nearly  all  of  the  nineteenth 
century.  Costume  dances  were  instituted,  public 
balls  given,  and  dance  halls  opened  freely  to  the 
people.  This  entire  period  of  social  disintegration 
and  reconstruction  was  characterized  by  an  extrav- 
agance in  dancing  similar  to  the  one  at  present 
observable  in  society. 


Modern  Figure  Dancing 
The  Quadrille,  in  its  best  sense,  is  directly  de- 
scended from  the  great  patterns  of  the  Classical 
Dance   period.     Between    it    and    them   comes    the 
interval  of  the  French  Revolution,  during  which  all 
restraint  of  social  form  was  swept  away  along  with 
the  representatives  of  the  Old  Regime.    The  ' '  fine  art 
of  living"  gave  way  to  a  vulgar  and  more  vigorous 
order  in  which  the  "Mad  Polka"  and  other  lively 
couple  dances  assailed  society.     Many  quaint  coun- 
try dances  in  lines,  circles  and  squares,  had  devel- 
oped side  by  side  with  the  more  formal  dances,  and 
society,  as  it  reorganized,  now  turned  to  the  Square 
Dance,   more    familiarly   known   as    the    Quadrille. 
During  the  Second  Empire  huge  Quadrilles,  most 
extravagant  in  detail,  were  developed,  in  which  the 
Princesses  of  the  House  of  Napoleon  took  a  promi- 
nent part.     Such  were  the  "White  Quadrille,"  the 
"Chess    Quadrille,"    modeled    after     the    famous 
game,  and  others  equally  well  known.    The  Quadrille 
was  variously  known  at  first  as  the  Contredanse, 
Fran?oise  and  Cotillon.    The  earlier  column  forma- 
tions of  the  Contredanse  gave  way  to  four  or  eight 
couples,  placed  on  four  sides  of  the  square,  and  it 
was  finally  called  the  Quadrille.    The  early  Quadrilles 
retained  the  almost  pantomimic  figures  of  the  ear- 
lier dances.     See  Moron's  Cotillions.     So  great  an 
artist  as  Taglioni  is  said  to  have  invented  Quadrille 
figures.     When  at  the  height  of  its  popularity  the 
Quadrille    represented  by  far  the  best  dancing  of 
tlie  nineteenth  century.     Its  spirit  was  truly  demo- 
cratic and  social.    The  period  of  exacting  technique 
had  passed  by.    People  no  longer  danced  well  enough 
to    indulge   in   "steps,"   except   the   simplest.     An 
occasional  "pigeon  wing"  cut  by  some   excitable 
gentleman,  or  a  "pas  seul"  by  some  frisky  maiden, 
represented  the  high  water  mark  of  dancing  ability. 
Later  "calls"  became  necessary  to  guide  the  dancers 
thru  the  mazes  of  tlie  figures.    With  a  good  partner 
acquainted  witli  the  calls  anyone  could  enjoy  the 
pleasures  of  the  dance. 

Lanciers 

The  Lanciers  Quadrille  was  introduced  into 
France  by  its  two  great  later  masters  of  the  dance, 
Laborde  and  Cellarius.  The  Lanciers  was  the  favor- 
ite dance  at  the  court  of  Napoleon  III,  especially 
with  the  Empress  Eugenie.  It  is  an  enlarged  form 
of  the  Quadrille  proper,  and  many  of  its  figures, 
and  certainly  its  dignity,  were  drawn  from  the  older 
dancing  art.  The  term  Lanciers  was  derived  from 
the  fact  that  its  figures  were  often  manoeuvred  or 
danced  in  military  drills  with  horses,  or  in  Lancier 


12 


uniform,  with  display  of  light  arms  and  flags,  which 
gave  it  a  semi-military  character.  All  the  move- 
ments of  this  dance  should  be  executed  with  great 
spirit  and  dignity.  Its  chief  beauty  lies  in  exactness 
of  execution.  In  fact,  it  is  a  sort  of  militarized 
Minuet,  picturesque  and  pleasing,  with  courtly 
movement  boasting  a  "measure  full  of  state  and 
ancientry. ' ' 

It  is  pre-eminently  suitable  for  opening  State  and 
Inaugural  Balls,  and  in  our  own  country  was  thus 
used  for  many  years.  The  high  character  of  the 
Lanciers  helped  re-establish  other  semi-court  and 
ceremonial  dances,  such  as  the  "Prince  Imperial," 
"Quadrille  Russe,"  which  still  hold  sway  in  Euro- 
pean countries.  In  later  years,  the  Lanciers  fell 
into  sad  repute,  and  became  romping  dances,  known 
as  "Kitchen  or  Breakneck  Lanciers."  It  remains 
for  those  interested  in  the  amenities  of  the  dance  to 
restore  it  to  high  place  in  the  ranks  of  social 
diversions. 

The  Cotillion 

The  Cotillion  was  first  known  as  the  Quadrille, 
the  fashionable  Contredanse  of  the  early  part  of 
the  last  century.  About  1844  the  Cotillion  appeared 
in  this  country  under  the  name  of  the  German  Cotil- 
lion. In  order  to  distinguish  it  from  the  Quadrille 
proper  it  has  become  known  as  the  "German,"  and 
as  such  is  still  used  as  a  select  society  dance.  The 
Quadrille  represents  a  democratic  sociability  in 
which  the  various  couples  of  a  set  need  not  neces- 
sarily be  acquainted.  The  Cotillion,  to  the  contrary, 
implies  an  artistocratic  inner  circle.  On  occasions, 
the  "favors"  employed  in  decorating  and  distin- 
guishing its  figures  embody  all  that  wealth  and  good 
taste  can  suggest. 

The  Cotillion  has  been  spoken  of  as  not  being  a 
legitimate  dance.  But  it  has  two  values  which  ought 
to  keep  it  a  permanent  and  useful  factor  in  social 
dancing;  viz.:  it  employs  a  great  variety  of  steps 
and  figures  and  provides  a  high  class  of  socialized 
entertainment  for  large  groups  of  people.  It  may 
be  said  to  be  a  compendium  of  all  the  good  dancing, 
good  form  and  good  manners  of  a  modern  ball  room. 
Dodworth  says  of  it :  "It  is  peculiarly  social,  requir- 
ing a  constant  interchange  of  partners;  all  must 
therefore  be  on  terms  of  familiarity.  As  all  of  the 
round  dances  are  used  in  its  arrangement,  every 
variety  of  time  and  accent  may  be  enjoyed.  Innu- 
merable figures  give  the  pleasure  derivable  from 
movements  in  concert  with  each  other,  and  infinite 
variety  in  the  character  of  these  figures,  serious, 
merry  and  comical,  maintains  interest  to  the  last." 

Hundreds  of  figures  or  inventions  are  listed,  taken 


from  old-time  dances,  eighty-three  being  cited  by 
Cellarius  of  Paris  in  his  book  on  "Fashionable 
Dancing,"  and  Dodworth  listing  many  more.  Fig- 
ures with  "favors"  have  been  added,  greatly  elabo- 
rating the  presentation  of  the  Cotillion,  without 
always  strengthening  the  essentials  of  good  dancing. 
Dodworth,  in  his  "Duties  and  Etiquette  of  the 
Cotillion,"  calls  attention  to  five  essentials  which 
give  the  Cotillion  its  true  character  and  position 
as  a  representative  dance  of  modern  civilization, 
"combining  fine  music,  fine  motions  and  fine 
manners ' ' : 

1st.    Alertness,  each    dancer    being  at  all  times 
awake  to  the  duties  required  of  him  or  her. 

2nd.    Promptness  in  taking  places  for  the  execu- 
tion of  a  figure. 

,  f 

3rd.   Silence  and  attention  during  the  explanation 

of  any  novelty. 

4th.  Obedience  at  all  times  to  the  conductor  during 
course  of  the  dance. 

5th.   Willingness  to  sacrifice  momentary  personal 
pleasure,  so  that  others  may  gain. 

The  leader  or  conductor  of  a  Cotillion  must  be 
par  excellence  a  social  Beau  Brummel  and  past 
master  of  tact,  if  he  is  to  minister  successfully  at 
this  shrine  of  terpsichorean  art.  For  service  in 
restoring  our  fast  vanishing  social  art  of  the  dance, 
the  Cotillion  should  be  encouraged  and  cultivated 
among  all  classes. 

American  Dances 
This  sketch  would  be  incomplete  without  a  word 
on  this  mooted  subject.  AVhat  we  possess  in  this 
respect,  as  in  others,  we  owe  mostly  to  inheritance. 
Up  to  the  last  few  years  we  have  followed  the  dance 
traditions  of  other  countries,  varying  them  just 
enough  to  suit  our  ruder  surroundings  and  cruder 
state  of  society.  In  the  earlier  days  every  immi- 
gration brought  its  social  conventions,  which  took 
root  or  mingled  with  others.  In  the  Southern  States 
one  still  finds  the  Minuet  of  the  Colonials,  as  well 
as  evidences  of  old  country  figure  dances.  Among 
the  mountaineers  we  discover  ballads  and  rustic 
dances  still  in  common  use,,  which  show  a  direct 
descent  from  the  old  English  Yeomanry.  The 
Scotch,  the  Irish,  the  Dutch,  the  German,  the  Spanish 
element  of  the  Southwest,  the  Puritans  of  the  North- 
east, the  cowboy  of  the  far  West,  all  are  represented 
in  our  cosmopolitan  art  of  the  dance.  The  body  of 
the  dances  and  of  the  dance  music  of  our  pioneer 
times  consisted  of  the  numberless  popular  jigs,  reels, 
strathspeys  and  country  dance  music  of  a  century 
ago.  Right  merrily  did  our  grandfathers  and  grand- 
mothers foot  it  on  rough  barn  floors,  to  these  lively 


13 


airs,  to  the  scraping  fiddle  and  strident  calls  of  the 
leader.  New  inventions  were  made  on  the  old  forms, 
and  Old  Zip  Coon,  Money  Musk,  The  Devil 's  Dream, 
The  Fireman's  Dance,  and  scores  of  others,  are, 
strictly  speaking,  American  dances.  From  dancing 
in  a  barn  Ave  gained  the  term  Barn  Dances,  a  set  of 
dances  recently  popularized.  Original  themes  we 
derive  from  the  Indian  and  the  Negro,  the  latter 
creating  the  American  Cake  Walk.  In  the  present 
period  of  dance  invention  none  has  been  more  active 
than  the  American.  The  Tango  school  craze  has 
been  followed  up  by  numberless  fanciful  creations, 
most  of  which  would  come  under  the  head  of  dance 
antics  rather  than  dance  art.  The  criticism  which 
justly  falls  upon  these  so-called  dances  is  that  they 


express  neither  graces  of  movement,  of  social  life, 
nor  of  human  relations.  The  postures  are  contorted, 
unduly  intimate,  and  absolutely  devoid  of  social 
qualities.  The  best  of  the  steps  have  been  uncon- 
sciously adapted  from  older  dances,  but  the  postures 
emanate  from  the  dance  hall  of  the  underworld. 
The  best  teachers  of  the  dance  are  urging  a  return 
to  the  older  polite  dances,  until  the  happy  medium 
sliall  have  been  regained. 

Mari  Ruef  Hofek. 
Chicago,  August  31,  1916. 

[Editor's  Note:  Recognition  is  due  Mr.  Herbert  E.  Hyde  for 
liis  careful  editing  and  revision  of  old  manuscript  music;  to  Frances 
Proudfoot  for  the  costume  reproductions.  Thanks  are  also  due  to 
Mr.  Adolph  Weidig  for  cooperation  in  the  critical  revision  of  this 
volume.] 


14 


EXPLANATION  OF  DANCE  TERMS 


Fundamental  Positions : 

1st  Position— Heels  together,  toes  out,  legs  firm, 
equal  weight. 

2nd  Position — Right  foot  out  to  right  side,  equal 
weight. 

3rd  Position— Heel  of  right  foot  back  to  hollow 
of  left  instep. 

4th  Position— Move  right  foot  forward,  heel  on 
line  with  left  toe. 

5th  Position— Feet  completely  crossed  in  front, 
or  first  position. 

Repeat  with  left  foot  and  backwards  with  right 
and  left  foot. 


't'as  Maiche:    Slow,  graceful  walking  step,  some- 
times one  or  three  steps  to  bar. 

Pas  Grave:  Fifth  position  right  in  front;  bend 
both  knees,  rise  on  toes,  sink  on  left  heel,  raise  right 
heel,  keeping  toe  on  floor.    One  bar. 

Pas  Minuet:  Fifth  position  of  right;  bend  both 
knees,  rise,  extend  right  to  second  position,  change 
weight  to  right.    One  bar.    Repeat  right  or  left. 

Pas  Gavotte:  Three  springing  steps,  alternate 
feet,  back  foot  toe  down. 

"^Pas  Glisse:    Sliding  one  foot  after  the  other  along 
the  floor.    Four  directions. 

^  Pas  de  Bourree:    Small    follow    steps  with  back 
foot,  preceded  by  Jette. 

Pas  de  Basque:  Right  foot  circle  back  to  third 
position,  left  forward,  right  follow. 

Pas  Polonaise:  Dignified  walk  with  follow  step. 
Right,  left,  right;  left,  right,  left,  etc. 


Pas  de  Ballotte:   Feet  cross  alternately  before  and 
behind  as  in  Scotch  dance. 

Pas  Coupe:    Cutting  step.    Active  foot  cuts  under 
resting  foot.    Right,  left,  etc. 

nOhassez:     Chasing    step.     One    foot    chases    the 
other,  driving  body  forward. 

Assemble:    Assemble  the  feet  from  open  to  closed 
position. 

Assemble  soutenue:    Sustain  closed  position. 

Ensemble:    Bringing  together.    Impression  of  the 
whole  picture. 

i^Balencez:    Rocking  from  foot  to  foot,  rising  on 
toes  and  sinking  back. 

Dos-a-dos:  Passing  partner  back-to-back;  right 
to  left,  left  to  right. 

Degafje:  Disengage  or  separate  the  feet  to  sides, 
front  and  back. 

Jette:  With  a  light  jump,  raise  free  foot  and 
throw  weight  on  pointed  toe. 

Changement  de  Jambe:  Change  weight  from  leg 
to  leg,  with  spring. 

Changement  de  Pied :  Change  feet  simultaneously 
by  jumping  into  air. 

Entre-chat:  Cross  and  recross  the  feet  while 
jumping  into  the  air. 

Echappe:  With  closed  feet  jump  lightly  to  an 
open  position. 

Pirouettes:  Cross  feet,  raise  heels,  turn  both  feet, 
finish  with  toe.  Slow  turns  may  be  walked.  The 
Pivot  revolves  one  foot  while  the  other  beats  time. 


15 


POLITE  AND  SOCIAL  DANCES 


^  ■•■  ^ 


Marclne  dies   Rois 


LULLY. 


Moderato. 


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To  be  used  as  an  introductory  March  with  a  fig-ured  step  which  varies  with  the  pattern  of  the  music. 
C.F.  8.  Co.  1750  -  70  Copyrigiit  1917  by  Clayton  P.  Summy  Co. 


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Pa  vane. 

Ancient  Song'  Form. 


ARBEAXJ'S    ORCHESOGBAPHIE. 


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r  rr  n  i  m  r  i  i  i  i  i^  rx  r"i  i  i  j  r  i  1 1  r 

Bel  -  le,qui  tiens  ma  vi  -  e  Cap-ti-ve  dans  lesyeux,  Qui  m'as  la-me  ra  -  vi  -  e  Dun  su-briz  gra-ci-eux, 
Tes  beau-t6s  et  ta  gra-ce  Et  tes  di-vins  pro-pos  Ont  ech-auff-6  la  gla-ce  Qui  me  ge  -  lait  les  os, 
Ap-pro-che  donc,ma  bel-le,  Ap-pro-che-toi,monbieni  Ne    me  soi  plus  re- bel-le,Puis-que  moncoeurest  tieni 


LUJ 


imijir.irri^ij.rirff 

It  was  customary  to  sing-  one  verse  before  the  dance  beg-an 


r'rr'r.rirn^ 

ase  durins:  the  third  f  ig'ure  of  tht 


dance,  and  the  final  figrure  is  danced  to  the  instruments. 


ance  beg-an  unaccompanied.    The  voices  cease  during'  the  third  f ig'ure  of  the 


dance,  and  the  rinal  tig 


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u 
ne-moi      unbais-er.    Pour  mon  ame    a-pais-er      Uqn-ne-mpi    un  bai 

J  J.JJ,J.^,^^,P.J,i.J  J.JJ 


Viens      tot  ma      se-cour  -  ir      Ou         me  faud-rait  mou-rir,  Viens  tot   me      se-cour  -  ir      Ou     me    faud-rait  mou- rir . 
Et  ont  rem-plis  mon  coer  D'une     a  -  mour-euse  ar- deur,  Et      ont  rem-plis  mon  cour  D'une   a-  mour-euse  ar-deur. 


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un  bais  -  er. 


PAVANE   FOR  ONE  COUPLE. 
Formation:   Couple  face  audience,  holding-  inside  hands.  Beg-in  dance  with  outside  feet  on  first  beat  of  music, 
one  step  to  the  measure.  The  head  must  be  turned  in  the  direction  of  the  foot  which  is  pointed  well  forward   and 
the  free  hand  gniides  the  dress. 

1.  Four  pas  marche  steps  down  the  stag-e,  point  and  hold-,  ag-ain  four  steps  and  as  the  g-entleman  passes  lady 
across,  he  changes  hands.  Both  turn  and  retrace  steps  with  same  figure  —back  to  stag"e—  then  recrossingrto place 
thay  ag-ain  face  audience.  This  requires  the  first  eight  measures    repeated. 

2.  The  man  now  takes  three  short  steps  backwards,  leading-  lady  round  in  front  of  him,  the  lady  taking- three 
longer  steps  to  gain  the  opposite  side.  This  takes  four  bars  of  the  second  part  of  the  music;  they  chang-e 
hands  and  pose  on  the  fourth  step,  pointing-  outside  feet  and  heads  leaning"  in  same  direction,  holding-  inside 
hands .  This  is  repeated  with  the  lady  stepping  backwards  and  leading-  g-entleman  round  in  front  from  the  op- 
posite side  pose  to  the  audience.    This  occupies  four    more  measures  of  music. 

The  g-entleman  now  takes  three  steps  backward  into  his  own  place,  leading-  the  lady  in  front,  then  pose 
with  backs  to  audience,  heads  away  from  each  other.  Lady  then  turns  under  her  own  arm  and  both  face  audi  - 
ence  and  finish  with  deep  courtesy  and  bow.    Second  part  repeated . 

3.  Both  d£incers  now  pas  glissez  to  left,  ending-  with  deep  curtsy,  repeat  to  rig-ht  with  deep  curtsy;  join  rig^ht 
hands  and  with  two  steps  cross  over  to  the  other  side.  Pas  glissez  and  curtsy  to  rig-ht,  crossing-  over  obliquely 
and  pose  back  to  back,  head  turned  over  left  shoulder,  pointing-  left  foot.  Repeat  in  the  opposite  direction.  For 
the  close, one  pas  g-lissez  to  the  right  the  other  to  the  left,  ending-  with  deep  reverence.  Gentleman  leads  lady  off 
with  pas  marche  step  to  her  seat.  This  tract  may  be  followed  by  any  even  number  of  couples  ^\^ich  the  dancing- space  al- 
lows. 

COSTUME  NOTES. 

The  dress  should  be  of  the  heavy  style  of  the  Medici  days,  antedating-  the  Minuet.  The  ladies  costume  should 
be  of  satin  and  velvet  and  rich  lace§.  The  trains  with  bejewelled  fastening-s,  hang-  from  the  shoulders.  The  un- 
dersleeves  -s  a  series  of  puffs  from  the  shoulder  to  the  wrist,  with  a  long-  outer  open  sleeve  made  of  the  mater- 
ial of  the  train  falling"  the  lenglh  of  the  skirt.  Jewelled  stomachers  should  be  worn  and  small  pearl  trimmed 
velvet  caps  on  the  hig-h  coff ieur  of  the  period .    The  wide  ruff  is  also  essential  to  the  costume . 

The  gfentlemen  vie  with  the  ladies  in  the  richness  and  splendor  of  their  costume  puffed  breeches,  colored  hose 
and  doublet, velvet  cloaks  elegantly  draped,  plumed  hats,  bejewelled  swords,  all  in  the  best  style  of  the  Spanish  ca  - 
velier.  This  gorg-eousness  of  apparel  is  only  exceeded  by  splendor  of  manner  and  bearing-.  The  entire  dance  is 
characterized  by  stately  rhythmic  gfrace.  As  has  been  said  "The  learners  of  this  dance  must  enshroud  their  very 
souls  with  majestic  dig-nity,  the  arms  must  be  gracefully  rounded  as  the  couples  cross  and  recross,  turning-  their 
heads  away  from  each  other  altog-ether;  the  shoulders  well  back  with  the  leisured  gestures  of  those  stately  days."  — 
r  P. s. no.  17.-^0-70  Ancient  Dances. 


Pa.  vane . 


Grave,  well  marked  rhythm. 


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Theory  and  Discription  of  the  Pavane—  G.  Desrat. 

Before  beg-inning-  the  dance,  the  couple  or  couples  taking-  part  promenaded  around  the  room,  bowing-  gravely 
to  the  hosts  in  whose  house  the  dance  was  given.  It  was  sometimes  followed  by  a  sprightly  dance  in  order  to  en- 
liven those  present. 

The  Pavane  is  danced  in  a  slow  measure  in  2-2  time  with  the  one  foot  now  ahead  and  now  behind,  to  one 
side  and  turning-  around.  Step  right  foot  advance  one  step, bend  the  knee,  slipping-  the  left  foot  after, extend  the  left 
foot  in  front  of  the  right,  toe  much  extended  only  touching-  the  g-round.  For  the  left  foot  move  in  the  opposite  direc- 
tion and  in  turning  rise  on  the  tip  of  the  toes  coming  down  nearer  to  the  foot  ahead. 

I  Two  couples  are  placed  opposite  one  another,  the  cavalier  to  the  left  of  his  lady;  they  describe  a  great  se- 
mi-circle to  their  right,  changing  places;  then  Pavane  step  to  the  right.  The  cavaliers  hold  the  hands  of  the  ladies 
very  higti  and  after  changing-  places  the  two  couples  bow  to  each  other.  They  repeat  the  same  movement  coming 
back  to  their  original  places. 

II.  The  two  couples  take  four  Pavane  steps,  advancing  to  their  right  and  stop,  facing  each  other,  in  the  middle 
of  the  room;  they  bow  to  each  other,  then  they  advance  toward  each  other  with  two  Pavane  steps  and  turn  on  tip- 
toe, each  cavalier  dancing-  this  with  the  lady  opposite  him.  The  cavaliers  turn  and  face  their  ladies  and  by  four  Pa- 
vane steps  take  their  original  places.  Coming  back  the  cavaliers  lead  their  ladies  by  the  right  hand  held  high  in  their 
own  left;  they  bow  to  each  other  slowly,  previously  spending-  one  beat  on  tiptoe. 

III.  A  single  gentleman  cavalier  describes  a  great  semi-circle  to  the  left,  by  four  Pavane  steps,  and  coming 
before  the  opposite  lady,  he  bows  and  curtsys  with  her;  returning-  by  the  same  half  circle, he  bows  and  curtsys  with 
his  own  lady  in  place.  The  second  cavalier  repeats  this  same  figure.  Coda,  The  two  couples  advance  without  tak- 
ing each  others  hands,  four  open  Pavane  steps  to  the  right  and  to  the  left;  they  bow  to  each  other;  then  cavaliers 
face  about  to  their  ladies,  bow  to  them  and  take  them  back  to  the  place  froni  where  they  invited  them.  The  Pavane 
is  often  ended  with  a  promenade  and  bows  to  host  and  hostess  and  important  g-uests,  as  in  the  beginning. 


Pavane  Italierine 

XVI    Cent. 


PAVANE    PROCESSIONAL. 
This  quaint  measure  lends  itself  well  to  the  Processional  form  which  the  older  Pavane  discriptions  sug-g-est, 
using"  the  follow  step  as  well  as  the  pas  marche.     Also  the  forward  and  backward  movements  and  shifting"  from 
side  to  side.  These  evolutions,  tho  simple,  g"ive  a  charming"  effect  when  employed  with  larg"e  numbers. Observe  one  step  to  meas. 

1.  Procession  forms  to  playing"  of  music  as  many  times  as  necessary  to  marshall  them  all  on  floor.  At  a  g"iven 
sig"nal  the  dance  opens  with  a  reverence  to  partners,  they  join  inside  hands,  standing"  rather  far  apart  with  con- 
siderable distance  between  co.uples,  to  accommodate  trains.  Hats  and  fans  are  held  in  the  free  hand  to  use  in  the 
poses  and  g"estures  of  the  bows. 

2.  Pahners  beg"in  with  the  rig"ht  foot  well  extended,  follow  with  the  left,  point  and  pause  with  rig-ht  on  hold 
of  third  measure,  step  forward  left,  rig"ht,  left,  rig"ht  —  turning"  left  behind  —  lady  sinking"  in  curtsy  while  man 
draws  right  heel,  salute.  Here  the  whole  procession  reverses  and  the  same  fig"ure  is  repeated  in  the  opposite 
direction. 

3.  At  the  closing"  bow,  partners  face  and  move  to  left,  cross  -  stepping"  behind  with  the  rig"ht  foot,  left,  rig"iit; 
left,  hold  leaning"  back  over  rig"ht  foot,  lady  raising"  fan,  g"entleman  hat.  Shift  weig-ht  and  perform  same  to 
rigtit,  ag"ain  to  left,  then  each  walks  forward  three  steps,  turns  and  bows.  Repeat  the  same  from  the  opposite 
side,  returning"  to  place,  having"  danced  around  a  small  square.  It  is  at  this  point  that  partners  may  be 
chang"ed,  g"entlemen  stepping"  back  and  taking"  next  lady  behind.  In  order  to  best  effect  this  the  circle  should 
be  closed.  Any  amoiml  of  invention  may  be  broug"ht  to  bear  upon  the  dance,  which  may  be  left  to  the  discre- 
tion of  the  leader. 

C.P.S.  Co.  1750-70 


10 


Allegro  moderato 


The  Eaple  of  Salisbury 


WILLIAM     BYRDE 


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PAVANE    STEP 

The  rather  ambiguous  terms,  simples  and  doubles  mentioned  in  connection  with  the  Pavane,  are  thus  ex- 
plained. 

Simple:  1.  Step  forward  with  left  foot,  follow  with  right  to  1st  Position. 

2.  Step  forward  with  the  right  foot,  follow  with  left  to  1st  Position. 

Double:   1.  Walking  step  forward  left,  right, left  follow  right  — close.      First  4  measures  repeat. 

This  pattern  of  two  simples  and  one  double  is  followed  throughout  one  tour  up  and  down  or  around  the 
room  to  the  first  movement  of  the  music.  It  is  then  repeated  backward;  then  to  the  side,  when  the  partners 
separate,  crossing  each  other  with  the  simples,  walking  forward  with  the  doubles,  crossing  again  with  the 
simples  and  finish  with  a  bow. 

O.  PS.  Co.  1750-70 


Allemancie. 

Allegro  molto  moderato 


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An  old  reading  of  the  Allemande  gives  the  following  directions:  1st  Part:  Step  forward  with  the  left  foot,  Step 
forward  with  the  right  foot,  step  forward  with  the  left  foot,  turn  arms  over  to  the  right, pose.  The  same  beginning 
with  the  right.     Repeat  this  entire  figure. 

2nd  Part:  Step  forward  with  the  left  foot,  turn  arms  over  to  the  right;  Step  forward  with  the  right  foot, Turn  arms 
over  to  the  left.  Pass  lady  right  -  left  -  turn  arms  to  place. 

3rd  Part:  In  rapid  tempo,  one  step  to  each  beat,  each  step  accompanied  by  a  light  spring.  Step  forward  with  the 
left,  spring  on  the  right.  Step  forward  with  the  right,  spring  on  the  left..  Repeat  these  twice,  pause  and  pose.  Close 
the  dance  by  repeating  the  first  part. 

Position  for  the  dance:  Lady  places  herself  in  front  of  the  gentleman  with  the  two  left  hands  and  two  right  hands 
joined,  left  hands  raised.  The  turn  is  performed  from  side  to  side  or  like  the  ordinary  "wringing  the  ladies  dishcloth." 
Accent  step  by  a  slight  sinking  of  the  knee.  It  is  danced  by  couples  which  follow  each  other  up  and  down  the  room.  At 
the  close  they  turn  and  dance  in  the  other  direction.  Slight  changes  may  be  necessary  to  fit  the  steps  to  the  music. 
Adapt  to  Matheson  Allemande. 


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12 


A-llemancie . 


The  Allemande,  as  is  sig-nified  by  its  name,  is  of  Allemanic  or  German  origin.  Tho 
heavy  in  style,  it  was  adopted  by  the  French,  and  in  1540  was  danced  at  the  fetes  g-iven  by  Fran 
cis  I  to  Charles  V.  In  its  older  form  it  w^as  a  couple  dance,  with  many  other  couples  follow^ing 
the  leaders  about  the  room.  One  of  its  peculiarities  was,  that  the  partners  hands  remained  joined 
thru  all  the  'turns  and  evolutions  of  the  dance." 

Tabouret  says  that  it  can  be  danced  by  a  large  company,  others  placing  themselves  be- 
hind you,  each  one  holding  his  partner  by  both  hands,  walking  forward  and  retreating  in  dupk 
time,  three  steps  and  one  pause  — the  foot  raised— without  a  hop.  When  you  have  walked  to  the 
end  of  the  room,  you  turn,  every  dancer  stops  and  faces  his  partner,  then  continuing  with  th« 
second  part.  (Repeat),  The  third  part  or  figure  is  also  danced  in  duple  time, but  faster  and  mort 
lightly  and  with  little  hops. 

In  deciphering  the  old  discriptions,  we  can  infer,  that  in  order  to  effect  the  turns  grace- 
fully the  hands  w^ere  crossed,  as  is  well  shown  in  the  spirited  front  page  picture.  Also  in  an 
other  discription  we  are  told  that  the  lady  at  frequent  intervals  passed  before  the  gentleman 
before  the  pauses.  From  these  and  many  other  hints,  the  following  interpretation  is  offered,  ir 
conjunction  with  Couperins   music. 

The  Allemand  remained  popular  for  over  two  Centuries.  It  is  an  excellent  processional 
dance,  to  be  performed  before  royalty  in  some  scene  of  Ancient  Pageantry.  In  commhn  with  tht 
old  dances  the  phrase  suggests  the  patterns  of  the  dance,  two  steps  to  the  measure,  and  lik« 
most  old  music  it  is  unevenly  measured. 

COUPERINS  ALLBMANDB. 

I.  Lady  takes  her  place  to  the  right  and  a  little  in  front  of  the  gentleman.  Pose  of  head  anc 
feet  go  together.  Lady  extends  her  right  hand  right,  joining  gentlemans  right  hand,  her  left  ovei 
her  own  left  shoulder  joining  gentlemans  left.  Both  start  with  the  right  foot  w^ell  pointed,  w^alP 
four  steps  to  tw^o  measures.  Then  both  side-step  tvi^o  steps— lady  to  the  right  in  front,  gentle 
man  to  left,  behind,  finishing  v^^ith  opposite  feet.  Both  now^  step  forward  two  steps,  pose;  back- 
ward tw^o  steps,  pose;  then  to  the  next  long  phrase,  repeat  the  movements  of  the  first  four  meas- 
ures. The  next  long  phrase,  walk  forward  gravely  four  steps,  beginning  with  right,  point  left 
same  to  neyt  phrase,  going  forward  with  pointing  foot;  gentleman  turns  lady  (vi^ring  the  ladies 
dish  cloth)  arms  completely  overhead  to  first  position.  This  figure  is  then  repeated  to  other  end 
of  room,  and  is  called  the  first  part. 

II.  The  second  part  begins  w^ith  six  jumping  steps  forv^^ard  lightly  from  foot  to  foot 
three  measures.  Next  slide-pose,  crossing  three  times,  w^alk  four  steps,  turn  under,  pose.  Walk 
with  syncopated  beat  one,  tw^o,  three, jump  across,  w^alk  one,  tM^o,  three, jumpjump,  turr  iinderanr 
pose.    All  this  is  performed  leisurely  and  in  great  style.     Other  AUemands  are  extant. 

C.  F.  S.  L\)   17,50-70 


Allegretto. 


Allemancie . 


13 

FR.  COUPERIN. 


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The  Passamezzo,  Pas- to  walk—  Mezzo- half,  a  slow  dance, little  different  to  walking-.  It  belongfs 
to  the  dig-nified  Court  dances,  and  was  much  liked  by  Queen  Elizabeth,  who  prided  herself  on  the  skill  anc 
g-race  with  which  she  performed  it;  also  the  opportunity  it  g-ave  for  the  display  of  the  splendid  Court  dressei 
of  her  time.  The  Passamezzo  is  imported  from  Italy  and  supposed  to  represent  all  the  eleg-ancies  of  the  re 
fined  social  culture  of  that  country.  It  is  here  inserted  as  a  musical  bit  appropriate  for  illustrating"  a  Pag- 
eant scene  of  the  period.  A  dance  can  easily  be  arrang-ed  for  it.  Partners  stand  opposite,  arms  outstretchec 
wide,  both  step  left, pass  back  to  back, turn, face.  Knee  curtsy.  Repeat  etc. 

CP.S.  Co.  1750-70 


S  arabaride 


15 

G.  F.  Handel. 


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The  Sarabande  is  one  of  the  best  type  of  the  Basque  dances,  which  later  found  their  way  into  the  class- 
ics. History  claims  it  as  a  Relig'ious  Processional  Dance  and  this  form  was  used  on  occasions  of  hig'h 
State,  in  the  receptions  of  King's  and  Queens.  So  g-reat  a  man  as  Richelieu  is  said  to  have  danced  it  before 
Anne  of  Austria  and  it  was  a  favorite  court  dance  during"  the  reig"n  of  Louis  XIII.  It  claims  Arabic  origfin 
as  shown  in  its  oriental  movements.  The  Sarabands  of  Bach  and  Handel  keep  to  the  old  dig'nified  form,  tho 
later  danced  in  a  much  livelier  mood. 

According-  to  Bohme  the  earlier  Sarabands  did  not  fall  into  stereotyped  musical  form  as  some  of  the  la- 
ter arrang-ements  would  have  us  believe.  The  Handel  Sarabande  offered  in  this  volume  shows  the  first  period 
to  consist  of  9  measures,  of  two  short  phrases 'ag-ainst  a  long"  one;  the  second  period  of  12  measures  has  three 
4  measure  phrases.  In  presenting"  the"  dance  each  part  must  be  repeated  in  order  to  balance  the  form.  Play- 
fords  arrang-ement  of  the  Sarabande  as  a  country  dance,  is  hardly  in  keeping"  with  either  its  steps  or  form. 

The  Spanish  Dance  steps  of  the  Sarabande  may  be  fignired  for  this  music  in  the  following"  way;  Casten- 
ets  are  used  with  which  to  mark  the  time . 

1.  Point  and  raise  the  rig-ht  foot,  (count  1)  step  forward ,( count  2-3)  slide  the  left  foot  lift  and  pose,  (sec- 
ond measure).  Repeat  in  the  opposite  direction,  concluding"  four  measures.  Begrin  the  fifth  measure  like  the  first, 
instead  of  posing-,  pas  bourree  to  the  left  ten  little  steps  turning"  and  finishing:  with  a  pose.  Repeat  the 
entire  fig-ure  ag-ain  beg-inning-  with  the  rig-ht  foot  and  finish  with  a  pose  in  place. 

2.  Spanish  draw  step  to  the  left  three  times,  pose— four  measures;    repeat  to  the  rig-ht—    four  measures; 
Spring-  left  foot  forward,  rig-ht  arm  over  head  during-  pose;  spring-  rig-ht  foot  forward,   left  arm  over  head, 
then  two  draw  steps  backward  with  the  left  foot,  a  quick  turn  backward  to  the  rig"ht,  stamping*  rig"ht      foot 
and  rig-ht  arm  raised  over  head- pose.     Repeat  this  movement  entire,  which  is  danced  .to  the  second  part  of 
the  n»usic.  The  dance  is  concluded  by  repeating:  the  first  movement. 


C.P.  S.Co.  1750-70 


16 


Xamb  outr  in 


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1.  Partners  run  forward  4  steps,  stamp-brush  three  times;  run  four  steps,  stamp-brush  twice,   pirouette.  Re- 
peat to  place.    Outside  hand  shakes  tambourine. 

2.  Partners  next  run  round  each  other  to  the  left  4  steps,  stamp-brush  three  times  ag"ain;  jetle-coupe  eigfht 
steps  past  each  other.  Repeat  back  to  place. 

3.  Repeat  4  meas. of  1.  then  brush-step?  times,  dodgfing- from  side  to  sideCg-irl  in  front  of  boy).  As  boy  raises 
tambourine, girl  stoops,  each  twice.  Then  g'irl   leading"  pas  bouree  in  a  chase  round  a  circle,  3  meas.     Pose  to- 
g"ether  tambourines  over  head.  Repeat  t.  and  finish  at  Fine.  The  tambourine  is  usually  accompanied  by  a  drum. 


C.F.  S.Co.  1750-70 


Pass  epie  d.s . 


17 


Vivace  ( J)  :138) 


ANDRE   CAMPRA. 
(1660  -1744). 


1.    Set — five  running-  steps — pass  partners  rigfht  shoulder — five  shuffle  steps  back,two  stamps. Repeat  pass- 
ings left  shoulders.    Dance  same  figtire,  partners  groing"  forwards  and  backwards'in  opposite  direction. 

2.    Both  couples  dance  backward  beg^inning^  with  right  foot  pas  de  basque — point — shuffle, pas  de  basque; 
balance  right,  left,rig-ht.    Repeat  and  balance  al  close  with  joined  hands  and  pose. 


C.F.  S.Co.  1750-70 


18 


Sicillian. 


REINECKE. 


Ul!  r  p 


The  Sicillian  is  a  Shepherd  dance  of  Sicily,  and  is  usually  accompanied  by  flute  or  tambourine.  It  is  embel- 
lished by  shaking"  handkerchief  or  tambourine,  or  clapping"  hands.  It  is  the  joyous  happy  dance  of  a  youthful  cou- 
ple.   1.    Step-throw  rig"ht  and  left  four  times,  slide-step  outward  twice,  step  and  turn.  Repeat  backward  to  place. 
Body  should  swing  slightly  with  step. 

2.  Both  now  move  outward  and  round  with  four  chasse  steps,  two  stamps-  and  turn,  handkerchief  shakinghigh 
above  head,  outside  hand  on  hip.  Now  facing  partner  lead  across  with  four  chasse  steps  and  finish  with  stamp . 
Repeat  all  in  opposite  direction  back  to  place. 

3.  Youth  pursues  girl  round  circle  with  eight  chasse  steps,  turn  on  7,  8-  Girl  pursues  in  opposite  direction 
both  turn  together,  two  left  palms  touching"  waist  at  back,  right  hand  shaking*  tambourine  over  head . 

C.P.S.  Co.  1750-70 


Chelsea  Reacti. 


19 


Chelsea  Reach  is  one  of  the  best  types  of  Old  Eng-lish  dancing"  of  the  Queen  Elizabeth  time.  It  com- 
bines the  gracious  charm  of  the  Court  Dance  with  the  fig'ures  of  the  Country  or  Contra  Dance,  which  later 
took  the  form  of  a  Quadrille.  One  can  easily  see  how  King's  and  Queens  could  step  down  from  their  thrones  and 
ming'le  in  this  dance  without  loss  of  dig-nity.  The  dante  was  named  after  the  famous  Chelsea  Gardens,  where 
it  g-raced  many  a  royal  fete,  and  where  it  was  last  danced  in  the  Chelsea  Pag-eant,   1908. 

In  order  to  avoid  confusion  the  dancers  must  think  of  the  performance  in  distinct, set  fig'ures,  the  cou- 
ples moving"  log"ically  from  one  to  the  other.  The  first  fig"ure  is  a  square,  the  second  takes  the  form  of  a  col- 
umn in  two  g"roups  of  four;  this  column  resolves  itself  into  two  lines.  The  third  fig"ure  begfins  with  these  lines 
and  swing's  back  into  two  circles.  The  last  fig"ure  is  in  a  square.  The  directions  are  after  Playfords  Danc- 
ing" Master,  1665.  The  fig'ures  are  g'iven  in  his  discriptions  first  and  followed  with  an  explanation  by  the  Au- 
thor.   Nellie  Chaplin  Studio,  London,  1911. 

FIGURES   OF  CHELSEA   REACH. 

The  step  is  a  leisurly  walking'  with  toe  well  pointed.  The  form  a  square  of  four  couples.  Partners  dance 
well  apart  with  hands  held  hig'h  in  the  manner  of  the  minuette .  In  this  dance  the  man  is  on  the  rigrht  of  the 
lady.  In  leading'  out  the  rig'ht  hands  are  joined.  The  womans  curtsy  is  low  to  the  heel,  not  the  g"rand  bow  of 
the  French  minuette.  The  mans  bow  a  bend  and  backward  step  and  draw  of  the  rig'ht  foot,  right  arm  brot  to 
the  waist  in  front  and  left  extended  back .  In  the  best  style  a  hat  is  carried  by  the  g"entleman  which  requires 
much  skill  in  handling".    Two  steps  are  observed  to  the  measure  thruout. 

1.  Meet  all  in  and  fall  back,  set  each  to  his  own  —     Play  ford. 

All  couples  forward  to  center  four  steps,  point,  turn  toward  each  other  and  perform  same  back  to  place. 
Setting—  pass  each  other  diag"onally  with  left  shoulder,  same  step,  turn  to  place  and  finish  with  a  bow.    Eig"ht 
measures . 

2.  Lead  out  all  square,  fall  back  and  set  to  your  own —    Play  ford. 

Perform  the  same  fig"ure  outward  from  the  square .    Repeat  first  eig"ht  measures . 

3.  The  first  and  third  couples  chang"e  places  with  their  women,  whilst  the  second  and  fourth  couple  meet 
in  and  clap  back  to  back;  the  first  man  and  third  woman  meet  the  second  couple,  and  the  first  woman  and  third 
man  meet  the  fourth  couple.  The  first  man  and  third  woman  take  hands  round  with  the  second  couple,  and  the 
first  woman  and  third  man  take  hands  round  with  the  fourth  couple  and  g"o  half  round ;  the  first  man  gives  his 
rig"ht  hand  to  the  third  woman  -whilst  the  second  man  g"ives  his  rig'ht  hand  to  his  partner;  the  first  man  g"ives 
his  left  hand  to  the  second  man  and  turn  a  whole  turn,  and  the  third  woman  gives  her  left  hand  to  the  second 
woman  and  turn  a  whole  turn  and  then  turn  your  own,  the  first  woman  and  third  man  do  as  much  tothe  fourth 
couple,  all  at  one  time  together  and  the  second  and  fourth  couple  do  the  same  to  the  first  and  third  couple. -Ptejj/: 

While  carefully  anotated  all  this  sounds  confusing  unless  you  see  the  column  form  out  of  the  first  change. 
Then  the  two  groups  of  four  mill  and  turn  in  chain  until  they  find  themselves  in  lines .  The  above  analysiswill 
effect  this  if  carefully  followed.   Alternate  first  and  second  part  of  music. 

4.  Sides  all  with  your  own,  set  to  your  own  and  that  again.  Men  take  your  women  by  both  hands  and  put 
all  back  to  back,  then  women  give  ri^ht  hands  across  and  go  half  way  round,  whilst  the  men  go  on  the  out- 
side the  contrary  way  till  they  meet  with  their  women,  and  fall  back  with  your  own  woman  into  the  contrary 
place.    Men  do  the  same  as  the  women  did,  till  you  come  to  your  ^XzlCq^.  —  Play  ford. 

All  this  is  quite  clear,  from  the  setting  with  your  partners  in  and  out  the  lines,  to  the  forming  of  the 
two  circles,  the  mill  and  men  going  in  opposite  directions,  repeating  with  men  on  the  inside  milling,  and  wo- 
men outside  all  turning  in  their  own  places.  For  the  first  part,  music  is  repeated  four  times.  For  the  milling; 
second  part  is  repeated  twice . 

5.  Arms  all  with  your  own,  set  to  your  awn.—  Playford.  Repeat  first  figure.  That  again.  Men  take 
all  the  women  by  the  right  hand  and  lead  out,  then  back  again,  give  all  right  hands  to  partners,  leffto  next, 
right  and  left  till  you  meet  your  partner  again,  then  lead  on  again  with  the  same  and  give  right  and  left  hands 
till  you  all  come  to  your  own  places.—  Playford. 

This  figure  repeats  the  setting  of  the  first  figure  and  finishes  with  a  grand  chain  or  grand  right  and 
left.  Finish  with  setting  and  a  bow.  Take  partner  to  seat.  For  the  setting  use  first  part, of  music,  for  chain 
the  second  part. 

C.F.  S.  Co.1750-70 


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The  grandfathers  dance 

In  the  earlier  days  this  quaint  song-  dance  of  the  Germans  was  specially  used  at  nuptial  and  birthday  cel- 
ebrations. Later  it  was  used  at  childrens  balls  and  may  be  effectively  used  in  modern  ball  rooms  as  apromen  - 
ade  dance.    It  belong-s  to  the  class  of  processional  dances. 

1.  The  round  may  be  danced  by  any  number  of  couples  placed  in  a  promenade,  one  couple  behind  the  other, 
the  g-entlemen  leading-  their  ladies  by  the  rig-ht  hand.  I.  Walk  the  measure  sedately,  with  well  pointed  foot,  one 
step  to  the  measure,  dropping-  a  curtsey  on  the  eig-hth  measure. 

II.  The  same  is  danced  to  the  next  eig-ht  measures .  To  part  III  of  the  music  first  4  measures  partners  separ- 
ate and  walk  in  opposite  direction  looking-  back,  then  return  4  measures;  drop  four  curtsys  8  measures,  alter- 
nating- from  rig-ht  to  left.    Dance  part  IV.same  as  the  first. 

2.  The  Kehraus  (2^  time)  in  livlier  tempo  invites  the  dancers  to  a  g-allop,  polka  or  two-step.  V.  Here  two 
couples  may  join  in  circles  of  four  dancing-  to  the  left  and  back  ag-ain,  resuming-  the  processional.  If  used  for 
a  birthday,  two  ring-s  g-oing-  in  opposite  directions  may  be  formed  in  this  fig-ure,  encircling-  the  birthday  child  or 
wedding-  couple,  after  which  the  Kehraus  proper  may  be  danced  as  here  described.  The  Kehraus  t)rpifies  that  lively 
skirmish  at  the  close  of  a  wedding-,  when  it  was  customary  to  pick  up  any  desirable  household  utensil  such  as  a 
broom  or  frying-  pan  and  dance  out  of  the  house  with  it.  On  ordinary  occasions  after  the  allegrro  all  the  cou- 
ples again  dance  in  procession  and  the  whole  is  repeated  as  often  as  desired.  The  dance  may  be  closed  by  the 
ccHiples  wheeling-  off  into  a  waltz  or  two-s4ep 


22  Metiuiet  <a'  Kxaiidet 

Notes  and  description  by  Or.  Desrat  may  be  helpful  in  reconstructing  this  fragment  of  the  classic 
Menuet  d'  Exaudet  —  a  song  dance  of  1700,  restored  in  1893,  with  words  and  description  of  choregn 
phie  of  the  author.  This  dance  first  appeared  in  the  comedy  la  Rosiere  de  Solenes,  by  Fravart  an 
w^as  choregraphed  by  the  learned  master  of  the  dance,  Exaudet,  and  set  to  music  by  him  in  1710 
1749.     It  long  rivalled  the  Minuet  de  la  Cour. 

I—  Cavelier  and  dame  advance  holding  hands.  Then  they  seperate  right  and  left  and  dance  bad 
ward  until  they  are  opposite  to  the  place  from  which  they  started.  Then  they  turn;  the  gentlema 
marching  behind  the  lady,  and  salute.  The  first  movement  requires  16  measures  and  is  repeate 
w^hich  brings  couple  back  to  place. 

II—  Solo-  12  measures,  cavalier  and  dame.  Cavalier  directs  his  steps  to  the  right  and  stops, the 
to  the  left,  stops  and  poses.  The  dame  likew^ise  dances  to  the  left,  then  right;  then  approaching,  the 
take  hands  lightly.  Balancez  to  the  right,  rising  on  toes.  Dropping  hands, they  then  chassez  crois 
in  opposite  direction  each  to  his  right.  Returning  slow^ly  back  to  place, join  hands  and  salute.  Re 
peat  this  figure,  in  opposite  direction,  12  measures. 

III—  Repeat  the  first  figure  16  measures. 

Desrat  says:  There  is  no  doubt  that  by  a  continual  system  of  invention  every  semblance  of  th 
old  form  v^^as  lost,  teachers  not  being  taught  the  old  fundamental  forms.  However  with  a  know^ledg 
of  the  various  minuet  steps  combined  w^ith  the  above  figures  given,  set  to  the  charmingly  descriptiT; 
music  of  the  old  song  a  very  good  example  of  an  Eighteenth  Century  French  Roccoco  dance  may  b 
produced.  Grace,  gaity,  archness  and  considerable  spirit  combined  w^ith  charm  of  dress  and  manne 
are  all  suggested. 

This  beautiful  song  Minuet  belongs  to  the  period  of  the  stately  grace  of  the  Court  Minuet,  th 
less  formal  in  its  expression.  The  follov^^ing  figures  are  constructed  from  a  musical  interpretatio: 
and  are  well  adapted  to  work  with  children. 

The  formation  for  this  arrangement  is  any  number  of  couples  placed  about  ten  feet  apart,  cross 
ing  each  other  in  the  dance  to  right  and  left.  The  right  hand  couples  pass  above  the  left  in  the  fin 
tour  and  below^  in  the  return.  Four  tours  across  the  room  —  are  accomplished  in  the  procedure  o 
the  dance. 

The  first  eight  measures  may  be  used  for  introduction  to  lead  the  couples  onto  the  floor,  and  i 
conclusion  to  return  the  dancers  back  to  their  seats. 

I.  One  Minuet  step,  both  beginning  with  outside  foot,  then  slide  inside  foot  forvs^ard  on  seconi 
beat,  posing  on  the  third  beat  of  the  first  measure,  bov^^ing  toward  the  sliding  foot.  Repeat  step,  be 
ginning  with  inside  foot,  bow^ing  outward.  Repeat  these  patterns  four  times.  Then  pas  marche  foi 
Avard  ten  times,  turning  and  bow^ing  on  beat  11  and  12 .  Repeat  both  these  patterns  in  the  re 
turn  to  place  across  the  room.  This  finishes  first  figure.  Eight  measures  across  the  room  and  eigh 
measures  back. 

II.  The  Rosette;  join  right  hands,  both  slide  quarter  step  forv^^ard  with  inside  or  right  foot,  pos 
ing  on  the  last  two  beats  of  the  measure,  looking  at  partner  in  front  of  the  raised  hands.  Nov 
half  turn  to  left  by  sliding  outsirie  or  left  foot  in  a  half  circle  forw^ard,  which  reverses  position  o 
partners;  pose  and  look  at  partner  under  arched  hands.  Repeat  both  these  steps  around  to  plac( 
Gentleman  then  swings  lady  pas  glissez  outward  and  inward,  in  front  of  him  in  four  half  circle  stepi 
while  he  pas  glissez  in  a,  straight  line  to  the  opposite  side  of  the  room.  Complete  the  tour  a 
cross  to  opposite  side  of  the  room  with  a  pas  Bourre  lightly  on  the  toes  twelve  steps  and  finis 
w^ith  a  bow.  Measures  nine  to  twelve.  Repeat  and  reverse  this  figure  by  joining  left  hands  an 
beginning  with  the  left  foot  w^hich  returns  the  couple  back  to  place. 

III.  Close  the  dance  by  repeating  first  figure  across  the  floor  and  back  again  to  place.  The: 
take  your  partner  to  seat  with  the  figure  of  the  first  eight  measures. 

In  arranging  the  dance  the  entrance  and  exit  should  be  as  carefully  planned  as  the  body  of  th 
dance.  The  significence  of  the  bow  in  the  Minuet  is  social  and  at  no  time  made  into  empty  spac( 
Bow^  to  someone- first  to  the  partner,  inw^ard;  then  outw^ard  to  the  audience  or  company  seated^ 
round.  Practice  a  graceful  pose  of  arms  and  holding  of  hands,  gentleman  presenting  right  palm 
in  w^hich  lady  places  daintily  extended  finger  tips. 

C.F.S.Co.  1750-70 


Menuet  d!  Exaiiciet 


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C.P.  S. Co.  1750-70 


2?.  S.  al  Fine. 


24 

Menuet  d.e  la  Coiir. 


According-  to  Brossard,  the  Menuet  had  its  origin  in  Poitou. 

Pecour  added  and  regulated  many  of  the  figures.  Louis  XIV.,  who  was  passionately  fond  of  the 
art,  danced  the  Menuet  to  perfection.  But  it  did  not  become  general  until  1710,  w^hen  Marcel  being  in 
the  highest  repute,  the  elegantes  of  that  day  eagerly  availed  themselves  of  his  instruction  in  the 
management  of  the  train,  the  courtsy      and  the  pas  grave. 

Grardell  arranged  and  Didelot  perfected  many  of  the  steps  and  movements  of.  this  beautiful  dance, 
which, however,  after  that  epoch  of  the  art,  fell  quite  into  disuse,  until  the  circumstance  of  Her  Most 
Gracious  Majesty  Queen  Victoria  having  been  pleased  to  revive  it  again  for  the  Bal  Costume,  giv- 
en at  Buckingham  Palace,  June  6th  1845,  on  w^hich  occasion  the  following  music  arrangement  w^as 
made  by  the  Queens  band  master,  Chas  Coote. 

LB  MENUET  DE  LA  COUR 
Is  replete  w^ith  elegance,  grace,  and  dignity.  From  the  commencement  to  the  end  it  is  one  continu- 
ous movement;  the  great  art  of  which  is  in  bending  and  rising  properly,  never  allowing  one  step 
to  finish  until  ready  for  the  preparation  of  the  next,  which  may  be  regulated  by  the  power  of  the 
instep,  and  manner  of  carrying  the  body  from  one  foot  to  the  other;  particularly  in  the  Pas  de  Me  - 
nuet. 

FIGURES. 

1.  The  Cavalier  leads  his  partner  to  the  part  of  the  room  selected  for  the  dance,  and  places  him- 
self on  her  left.  The  Menuet  then  commences  by  both  making  a  degage  to  the  side;  and  the  Cavalier 
raising  his  left  hand  gracefully  to  his  hat,  salutes  to  party  opposite,  whilst  the  lady  makes  the 
courtsy .      This  should  occupy  the  eight  measures  of  the  introduction . 

2.  Both  execute  a  Pas  Marche  forvt^ard,  and,  turning  face  to  face,  bow^  to  each  other.  The 
same  Pas  Marche  is  made    returning  to  their  places. 

3.  The  Cavalier  gracefully  presents  his  hand  to  the  lady,  and  leading  her  forw^ard,  both  bal- 
ancez  to  each  other,  and  coupe  to  the  right  finishing  at  corners. 

4.  Both  move  forward  to  opposite  corners  with  Pas  Grave,  Pas  de  Menuet ,finishing  w^ith  their 
right  shoulders  to  each  other. 

5.  They  then  cross.—  Pas  Marche,  Minuet  step  to  the  corners,  the  Cavalier  placing  his  hat  on, 
when  both  move  forw^ard  and  make  an  Assemble  Soutenue,  finishing  with  their  shoulders  to  each 
other. 

6.  The  Cavalier  and  his  Lady  no-w  step  back,  turning  the  contrary  shoulder;  thus  four  times ; 
after  w^hich  they  bow  slow^ly  and  rise  twice . 

7.  Both  raise  the  right  arm  and  join  hands  in  ensemble,  move  round  each  other  and  finish  in 
corners. 

8.  The  last  figure  is  repeated,  but  to  the  left,  giving  the  left  hand,  and  finishing  opposite  eadi 
other  between  the  corner. 

9.  A  balance  is  now  made  by  the  Cavalier  and  his  Lady,  both  move  forward  and  make  an  as- 
semble soutenue,  dos-a-dos,  pas  de  bourre  ouvert,  turn  to  the  left,  and  changement  de  jambe. 

10.  The  Cavalier  and  his  Lady  advance  to  each  other  with  the  shoulders  alternately  forvraj"d,and 
executing  the  chassez  a  trois  pas,  finish  in  corners. 

11.  Both  in  this  figure  give  their  right  and  left  hands,  and  moving  round  to  the  right,  resume 
their  original  places,  balancez,  move  back,  then  forw^ard  and  finish. 

Note.  The  Menuet  de  la  Cour  is  danced  by  one  couple  around  a  small  square  of  five  feet  which  gives 
ample  room  for  the  execution  of  the  fig-ures.  It  may  be  danced  by  many  couples  thus  arrang-ed  in  a  larg-er 
sauare  or  in  lines. 


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26 

Meniiet      dii    Dauptiine 


The  name  o^  this  composition  as  well  as  its  charming  naivette  suggests  a  childrens  dance . 
The  following  form  has  been  patterned  after  the  melody  and  plan  of  the  phrases.  The  simplest 
of  the  Minuette  steps  and  movements  are  used  -  pas  marche,  (pointed  walking  step)  pas  minuette, 
balance,  point,  curtsey,  bow^,  pose.  The  girl  should  carry  a  fan,  the  boy  a  plumed  hat  to  be  used  in 
the  pictures.  The  disengaged  hand  holds  the  fan  w^hich  is  suspended  from  a  ribbon.  The  hat  is 
changed  from  hand  to  hand  as  needed,  held  to  the  side,  as  in  the  bow^,  extended  w^ide  as  body  is 
bent  and  heels  come  together. 

ENTRANCE  —  "With  fan  and  hat  in  left  hands,  couple  join  right  finger  tips,  and  pas  marche 
thru  six  measures  of  opening  music  to  center  of  floor,  reverence  on  seventh,  hold,  rise  and  face  on 
eighth  measure.     Play  first  or  last  eight  measures. 

I.  Right  hands  joined,  balance  forward:!  beat,  rise  on  toes  2,  hold  3;  balance  backward  on  left 
foot  next  measure  in  same  manner;  w^ith  ha,nds  still  joined,  minuette  step  round  to  each  others 
places  beginning  with  right  foot  and  finishing  w^ith  curtsey  on  right  foot  back.  Repeat  to  next 
four  measures  continuing  to  left  and  finishing  in  place.  In  the  curtsey  hands  are  disengaged,  girl 
spreading  skirt  with  right,  boy  bowing,  arms  wide,  heels  together.  This  rosette  figure  may  be 
repeated  to  first  eight  measures. 

II.  Rising  from  bow,  couple  walk  past  each  other  to  side  of  room  or  stage,  left  shoulders  in- 
side—heads, hat, fan  leaning  to  left  — nine  pointed  steps  beginning  vinth  left  foot  and  pausing  on 
tenth  with  right  foot  pointing;  pivot  on  right  foot  to  -left  and  return  to  place  and  finish  with  curt- 
sey on  eighth  measure.  Step  on  left, cross  right-tap,  tap, —  repeat  to  right,  to  left,  pirouette  and 
bow.     Repeat  which  finishes  next  sixteen  measures. 

III.  In  Duo,  couple  join  hands  and  walk  to  right  hand  side  of  stage,  walk  forw^ard  five  steps 
beginning  vdth  left  foot  and  posing  on  sixth.  Boy  passes  girl  in  front  of  him  to  left  five  follow 
steps  then  pirouette  and  bovs^.  Repeat,  returning  to  place, the  girl  to  front  of  stage  the  second  time. 
Repeat  this  figure  in  the  other  direction,  returning  to  place  in  the  center. 

lY  Repeat  first  figure  in  the  center  of  the  stage,  then  retire  to  the  opposite  side  back- 
wards and  bow  with  face  to  audience.  If  two  or  more  couples  take  part,  the  balance  of  the  set- 
ting must  be  kept  by  working  from  opposite  sides,  both  in  the  dance  and  in  the  entrances  and 
exits.  While  the  walking  step  is  simple  the  style  of  the  dance  must  be  maintained  by  the  back- 
ward pose  of  body  and  arms,  with  the  daintily  pointed  foot  carried  well  forward.  Base, balance 
and  grace  of  movement  should  characterise  the  dance. 


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28 

IVTeniiet  de  la  Reine. 


In  contrast  to  the  letter  Z  upon  which  the  Minuet  de  la  Cour  is  performed,  the  Minuet  de 
la  Reine  is  danced  from  right  to  left,  partners  moving  away  from  each  other,  returning,pass- 
ing,  going  forward  from  the  center,  back,  turning  at  the  center,  etc.  It  is  a  couple  dance 
and  while  requiring  a  knowledge  of  the  Minuet  technic,  is  not  difficult  to  perform. 

It  is  said  that  G-ardel  the  great  master  of  the  Minuet,  arranged  the  de  la  Reine  for .  the 
marriage  of  Marie  Antoinette  to  Louis  the  XVI.  It  is  here  adapted  from  the  Von  Jolizza 
„Schule  des  TanzesJ'   to  the  music  of  Boccherini . 

Directions. 

The  first  8  measures  will  serve  to  bring  the  couple  or  couples,  on  the  floor.  Then  re- 
peat for  the  Reverence. 

1.  Reverence.—  Gentleman  presents  his  right  hand,  into  palm  of  which  lady  gives  fingertips 
of  left.  With  hands  well  raised,  both  step  forw^ard  w^ith  outside  feet,  shoulders  dos  -  a  -  dos, 
pose,  both  perform  demi  -  pirouette  outward,  bowing  low.  They  now^  repeat  this  figure  vi^ith 
demi- pirouette  in  opposite  direction  back  to  place,  finish  with  bow;  join  hands  and  then  bal- 
encez  forw^ard  one  measure,  back  one  measure,  pirouette  and  bow^.   First  8  measures  repeated. 

2.  Separez. —  Lady  and  gentleman  now^  both  make  a  quarter  turn  to  the  left  and  take  six 
steps  away  from  each  other,  turn  and  pose  on  5-6.  Repeat  back  to  center  and  hold  in  place. 

3.  Traversez.—    Lady  and  gentleman  now  both  go  forward  with  pas  minuet  step  1   measure 
pas  Polinaise  or  f ollow^-step ,  1  measurej  repeat  these  two    still  forw^ard,face  andpas  de  Basque 
t^vo  measures  on  opposite  feet,  face,  pirouette  and  turn.  This  finishes  the  next  twelve  meas. 
Repeat  to  place. 

4.  Rangez  a  recule. —  Gentleman  now^  makes  a  quarter  turn  to  the  right,  lady  to  the  left  and 
with  six  small  steps  run  or  "range    around"each  other  half  turning  on  six,  right  shoulders  to- 

'gether.    They  half  turn  in  this  manner  four  times. 

5.  Pas  recule—    Beginning  w^ith  the  right  foot,  both  lady  and  gentleman  step  backward    six 
steps  and  bow  or  pose  viz   a  viz.  Repeat  back  to  place  and  finish  with  a  bow^.  This  completes* 
8  bars  of  the  trio  to  Fig.  4-5.     These  two  figures  may  be  repeated  in  the  opposite  direction. 

6.  Balencez  a  cote. —  Both  lady  and  gentleman  now  balancez  tw^ice  to  the  side, beginning  with 
the  right  foot  finish  with  pirouette  and  bow,  4  meas.  Repeat  in  opposite  direction  4  measures 
more. 

7.  Traversez r-Vsus  minuet,  pas  polinaise,  pas  minuet, turn— next  four  measures  away  from  each 
other;  pas  minuet,  pas  polonaise,  pas  minuet  tow^ard  each  other  both  joining  hands,  perform  a 
tour  de  main  or  complete  circle  of  six  steps  and  finish  w^ith  bovi^.  Fig.  lor  the  Reverence  is  now 
repeated  and  closes  the  dance.     Lead  lady  to  seat. 


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DON  JUAN  MINUET. 

In  the  decline  of  the  Minuet  it  was  finally  walked  as  a  quadrille.  This  form  yet  prevails  in  the  Southern 
States  as  a  relic  of  Colonial  days  and  yet  will  be  found  in  the  repertoire  of  most  dancers  there.  Even  in  this 
meagrer  form  is  preserved  some  of  the  stately  g-raciousness  for  which  this  dance  was  famed  in  its  earlier  history. 

FORMATION.  Quadrille.  The  Minuet  should  be  danced  very  slowly,  a  dig-nified  walking'  step  being*  used, 
one -two -three,  point,  balancez  front,back.  Salutation  to  partners  (introduction)  two  measures. 

1.  All  coup,  pass  partners  and  meet  corners,  time  two  measures;  pass  on  to  next  in  same  manner,    pass  a- 
g'ain,  next  salute  partners  in  place,  two  measures. 

2.  First  four  to  the  rig"ht  salute;  to  left  salute;  salute  each  other  in  center;   partners  in  place  salute;   eig'ht 
measures.    Side  four  repeat. 

3.  All  forward,  salute;  to  place,    salute;  repeat,  eig'ht  measures;  salute  comers;  salute  partners.      Prom- 
enade to  seats. 


C.P.S.Co.  1760-70 


32  Oavotte  de  Vestris 

As  described  by  G.  Desrat. 

In  1887  the  old  dances  reg-ained  a  little  of  the  favor  which  they  enjoyed  in  the  18th  century.  Next  to  the 
Court  Minuet,  the  people  delig-hted  in  the  Gavotte.  On  account  of  the  limited  resources  of  later  dances,  it  was 
impossible  to  revive  the  old  Vestris  and  Tag-lione  Gavotte,  with  their  brilliant  jumping-  steps  and  the  arrangement 
of  the  couples  in  their  correct  positions  on  the  floor.  Hence  came  the  necessity  of  regulating-  the  dance  as  a 
Quadrille,  executed  by  two  or  four  couples.  The  three  distinct  parts  of  the  dance  are  a  faithful  translation  of 
the  18th  Century  Gavotte  placed  between  the  stately  introduction  and  closing  of  the  Court  Minuet.  See  Min- 
uette  de  la  Cour. 

ORDER  OF  THE  DANCE.  Two  couples  are  placed  facing  each  other  as  in  the  Quadrille,  the  gentleman 
holding  in  his  right  hand  the  left  hand  of  the  lady. 

INTRODUCTION.  First  movement  of  the  Court  Minuet,  eig-ht  measures.  The  same  movement  is  also  danced 
when  taking  the  ladies  back  to  their  places. 

I.  The  gentleman  taking  the  lady's  left  hand  in  his  right, advances  with  her  by  a  jete,bring  the  feet  together, 
the  rig-ht  heel  to  the  middle  of  the  left  foot,  assemble  (change  feet)  in  front.  Both  go  back  three  jetes,  assemble 
behind,  8  measures.  Criss-cross,  the  g-entleman  to  the  rig-ht,  the  lady  to  the  left  in  front  of  her  partner  by  an  open 
sidestep  twice  and  three  chang-es  of  the  feet.    Repeat  in  the  opposite  direction. 

II.  Crossing  by  the  gentlemen.  The  gentleman  describes  a  large  semi-circle  to  his  left  by  eig-ht  jetes,  pass- 
ing- in  front  of  his  lady.  He  then  takes  seven  jetes  backward  and  assemble,  12  measures.  Repeat.  Same  music  12 
measures.  Balancing,  the  lady  and  gentleman  advance  facing-  each  other,  taking-  8  zephyr  steps, giving- each  other  the 
right  and  left  hand  alternately  four  times.  They  return  to  their  orig-inal  places  with  eight  more  zephyr  steps  exe  - 
cuted  by  turning-  the  hand.    12  measures. 

III.  The  gentlemen  advance  each  leading-  his  lady  by  jete,  assemble 'rest.  They  chang-e  ladies,  and  withdraw  by 
three  jetes, assemble  behind, 8  measures.  The  g-entlemen  begin  ag-ain  with  the  same  movement  and  take  their  ladies 
back  to  place,  8  measures. 

IV.  The  two  couples,  taking  the  zephyr  step,  execute  a  pursuit  in  a  circle,  changing-  ladies  twice;  they  then  ad- 
vance to  the  front  with  three  jetes  backward  and  assemble  to  place,  12  measures. 

CODA.  The  two  couples  then  beg-in  ag-ain  the  introduction  to  the  Court  Minuet  which  finishes  the  dance. 
If  the  dance  is  danced  by  four  couples  they  are  placed  as  for  a  Quadrille. 

SECOND   ARRANGEMENT 

FORMATION.  Quadrille  formation.  Any  number  of  sets  of  4  placed  the  length  of  the  room, gentleman  at  ladys  left. 

STER  Pas  Marche  three  marching-  steps  (begin  with  outside  footj  and  pause  followed  by  4  points  with  same  foot . 

BOW.  Minuet -Gentlemen  step  to  left  (facing-  lady)  close  heels, bow  low  in  hips  with  sweeping-  gesture  of  the  arms. 
Lady  step  to  rig-ht, draw  left  foot  behind, sink  on  rig-ht  foot, transfer  weight  to  left  making  sweeping-  bow. 

ARMS.  Gentlemia.i  presents  rig-ht  hand  off  his  sword  or  heart  (three  cornered  hat  in  left  hand  held  breast  high) 
palm  upward,  hand  raised  above  shoulder. 

LADY.  Hands  on  skirt,  raise  left  from  back  and  drop  tips  of  fing-ers  on  g-entleman's  upturned  palm. 

I.  THE  GREETING.(a)  Head  couples  pas  marche  forward  to  the  center,  starting-  with  outside  feet, pause,  point 
four  times..  Return,  pointing-  with  inside  feet, sides  the  same. 

(b)  All  forward.  Pas  Marche  and  bow.  Reverse  steps  back  to  place,  pointing-  toe  and  looking-  at  each  other  over 
shoulder.  Repeat;  then  dance  last  four  measures  by  lady  turning-  forward  under  rig-ht  arm  df  g-entleman  (g-entleman 
in  place)  four  steps  finishing-  with  four  points. 

II.  THE  FAN.  Two  side  ladies  extending-  and  joining-  left  hands  walk  toward  the  center,  extending-  at  same 
time  rig-ht  hands  to  head  and  foot  ladies, throwing-  them  into  aline,  the  same  figure  should  extend  the  length  of  the 
room  thru  all  the  sets.  Three  steps,beginning-  with  the  rig-ht  foot  should  bring-  all  into  this  line,  then  four  points  in 
place.  Couples  of  each  set  next  break  at  center,  turn  to  the  left,  reversing-  position, ending-  with  4  points.  Then  two  end 
ladies  of  each  set,joinleft  hands  and  swing  to  the  right, end  with  four  points.  Break  at  center  ag-ain  and  swing-  to 
right, end  with  four  points. 

This  makes  four  chang-es.  Hands  of  two  center  ladies  should  be  down,  hands  of  couples  up.  These  four  turns 
leave  the  ladies  facing-  corner  g-entleman.  Ladies  now  turn  with  corner  g-entlemen  then  back  to  own  partner  who 
turns  her  to  place  and  then  under  his  rig-ht  arm,  finishing-  with  four  points  of  outside  foot. 

III.  GRAND  MARCH.  Head  couple  and  left  side  couple  stand  6n  one  bar  of  X  across  the  square  facing-  foot  and 
right  side  couples.  Thruout  fig-ure,head  and  foot  couples  step  forward  and  pass  the  other  two  couples  on  the  out- 
side.  Pas  marche  step,  and  point  four  times  at  meetingf  each  new  couple. 

Four  prog-ressions  in  this  march  leaves  couples  at  corners  opposite  to  their  own  places.  To  get  back  home,  ladies 
chain,with  opposite  partners  half  turn  and  cross  over  to  place.  Gentlemen  then  turn  ladies  under  right  arm  and  finish 
with  four  points.  IV.  GRAND  CHAIN,  (a)  Right  hand  to  partner  arm  raised  higli,pas  marche  on  to  corner,  pause 
with  four  points,  meeting- all  couples  on  around  to  place,  r^  Finish  with  b  of  Fig-ure  1.  Bowing- profoundly,  g-entle- 
man turning;  lady  under  right  arm  and  four  points  at  close. 

v.— MARCH  OFF  FLOOR.  Side  couples  fall  in  behind  head  couple,  rig-ht  hand  couple  first,left  next.  Pas  Mar- 
che, about  the  room  and  «;eaf  laHv   \vifh  a  hn\u 


33 


Qavotte  de  Vestris 


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34 

Oavotte  le  Ballett  diji  Roi. 


Q-luck  and  Gretry  both  composed  g-avottes,  and  the  dancer  Gardel,  in  the  time  of  Marie 
Antoinette,  introduced  a  fresh  dance  to  &retry's  music.  At  this  time  the  dance  was  in  great  fa- 
vor. 

Suitable  music  to  which  the  follow^ing  tract  of  the  gavotte  can  be  danced  is  "he  Ballet 
du  Roi,"  by  Lulli,  1633-1687.    It  is  in  4  time,  commencing  on  the  third  beat  of  the  bar. 

The  dancers  start  in  a  line  or  circle,  the  couples  separating  themselves  from  the  rest. 
Only  in  this  way  can  it  be  effectively  danced. 

1.  Pour  gavottes  forward,  four  gavottes  round,  four  back  and  four  roimd  again  the  dancers 
hand  in  hand,  the  figures  always  accompanied  by  graceful  head  movements,  the  partners  turn- 
ing tow^ard  each  other  or  apart. 

2.  Gavotte  round  the  room,  the  ladies  changing    sides  four  times,  the  dancers  hand  in  hand, 
but  each  looking  the  opposite  -way  and  making  a  step  on  the  side,  with  the  one  a  curtesy,      the 
other  a  bow^,  repeating  the  step  and  the  reverence. 

3.  Face  partners,  taking  both  hands.,  and  alternate  toe  and  heel  stepj  point  tee  in  front,  then 
behind,  then  up  the  room,  pivot,  and  same  back,  and  pivot. 

4.  Repeat  the  same  step  to  the  right  tw^ice,  and  twice  to  the  left,  with  partner,  four  gavottes 
round . 

5.  Skate  four  times,  viz.,  slide  the  one  foot  and  bring  it  up  behind  the  other;  change  feet,  two 
pawing  steps,  gavotte  round  partner,  repeat  same  step  down  (two  pawing  steps),  and  gavotte 
round  partner. 

6.  Gavotte  forw^ard  three  times,  pirouette  back,  raise  foot  up  to  heel,  and  advance  four  times. 

The  steps  which  form  these  movements  are  the  gavotte  viz .  three  steps  and  an  assemble 
in  4  time.  You  spring  on  the  foot  that  is  on  the  ground  and  at  the  same  time  the  toe  of  the 
other  foot  downw^ards  at  the  back. 

For  the  half  circle  round,  jump  one  foot  to  the  side,  bringing  first  the  right  foot  forward 
and  then  the  the  left. 

For  the  pirouettes,  slow^ly  raise  the  foot,  jumpmg  round  the  while.  Tliis  is  sometimes 
called  the  tarantelle  pirouette.    Pivot  w^ith  one  foot,  toe  and  heel,   alternating  with  heel  and  toe. 


C.F.S.Co.  1760-70 


Oavotte. 

le  Ballett  du  Roi. 


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CPS.Co.  1750-70 


Qavotte  Favorite 


Allegretto.  J:iia 


de 

MARIE    ANTOINETTE 

1774. 


37 


Arr.  by  Neustedt. 


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NOTE:     No  orig-inal  version  of  the  dance  being-  extant,  the  greneral  fig-ures 
of  the  ffavotte  must  be  followed  in  the  oreoaration  of  the  H;infP 


:^D.a.cil 
Fine. 


38 


Oavotte 


Allegretto  Jr72 


J.  S.  BACH. 


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C.P.S.Co.1760-70 


Bourree 


!| 


Vivace  d^ios 

3 


39 


J.  S.  BACH. 


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[Polonaise 


J.S.BACH. 


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The  Bach  numbers  show  the  use  the  later  classical  composers  made  of  the  old  dances  in  perfecting  so-called  Musi- 
cal Form.  In  these  their  characteristic  qualities  and  content  are  retained,  but  the  freer  rhythmic  construction  of  the  dance 
is  made  mathematically  correct  and  they  become  good  piano  pieces  instead.    In  this  form  they  are  retained  in  the  Suites. 

Both  the  polite  and  the  ruder  dances  of  the  people  were  used  for  these  foundation  forms.  ,  The  Bourree  is  a  lively 
French  Clog  of  great  antiquity;  the  example  here  printed  may  well  serve  for  a  modern  step-dance.  The  Musette  usually 
followed  upon  the  livelier  steps  of  the  Gavotte  in  the  nature  of  a  leave-taking  of  partners, bringing  the  latter  to  a  digni- 
fied close.    The  Minuet  and  Polonaise  have  been  previously  discribed. 

C.F.S.  Co.  1760-70 


40 


Princess    Polonaise 


LEUTNER. 


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C  p.  8.  Co.  17^0-70 


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"The  name  Polonaife  is  g"iven  to  a  great  solemn  and  imposing'  march  executed  at  the  opening"  of  Court  balls, 
by  all  the  dancers  on  their  way  to  salute  the  Sovereig"ns.  It  is  walked  with  slow  steps  to  a  measure  of  94  time, 
proceeding"  thru  all  the  parlors  and  gralleries  used  for  the  occasion..  Altho  used  at  the  g"reat  official  balls  of 
other  foreig"n  countries,  it  is  never  used  by  the  French.  In  May  1890,  an  attempt  was  made  to  revive  the  Po- 
Ijnaise  in  its  first  form.  Jean  de  Paris,  in  Figraro,  May  7tn,  of  that  year  speaks  of  this  revival  as  very  hap- 
py and  picturesque.  Each  Cavalier  dressed  in  red  coat  and  knee  trousers,  carried  a  little  wand  in  his  hand, 
which  in  the  procedure  of  the  march,  while  passing-  before  the  hearth  on  the  cadence  of  the  triumphal  war 
march  he  threw  into  the  fire" —   Desrat. 

Sometimes  the  name  Polinaise  is  g"iven  to  the  Russian  Mazurka,  danced  in  the  form  of  a  Cotillion. 


The  Polonaise  is  a  ceremonious  processional  dance  used  in  the  opening"  of  State  Balls  in  European  Courts.  It 
seems  to  be  a  milder  or  later  form  of  the  Pavane,  using"  much  the  same  step,  salute  and  half  turn,  starting"  with  al  - 
ternating"  rig'ht  and  left  feet.  The  master  of  ceremonies  takes  command  and  leads  the  procession  thru  various  fig' 
ures.  In  formal  court  days  the  dance  beg"an  with  a  series  of  introductions,  starting"  with  those  of  hig'hest  rank. 
These  beg'an  to  take  their  places  on  the  floor  in  couples,  followed  by  others  until  the  entire  company  was  assembled 
for  the  dance.  After  the  grand  march  the  procession  came  up  the  center  of  the  room, where  partners  separated, 
gentlemen  to  the  left  and  ladies  to  the  rigtit, until  they  met  ag"ain  at  the  door;  atsignal  the  g-entlemen  paused  and  took 
the  lady  next  behind  them.  This  occured  at  regular  intervals  until  the  orig-inal  partners  came  tog-ether.  Where  the  as- 
semblag"e  was  very  larg-e,  two  or  four  ladies  passed  forward  at  one  time  and  the  chang"e  of  partners  was  more  quick- 
ly accomplished,  the  ladies  pausing-  with  a  suitable  curtsy,  awaiting"  the  new  partner.  These  chang^es  were  also  made 
to  the  side,  couples  crossing-  from  rig-ht  to  left  and  back, stepping-  on  to  the  next  partner,  forward.  In  this  way,  many 
beautiful  fig-ures  were  originated, inspired  by  the  martial  changes  in  the  music,  always  keeping-  to  the  fig-ured  step 
chosen  at  the  start.    The  rhythmic  n.otive  of  the  music  should  be  carefully  studied  and  patterned  to  this  effect. 

These  fig-ures  were  often  carried  on  to  tedious  leng-th  but  may  be  happily  concluded  by  a, few  turns  of  the  old 
round  waltz,  when  the  reg-ular  prog-ram  of  the  ball  may  proceed.  Chopins  Military  Polonaise,  Opus  40  No.l,is  excell- 
ent for  occasions  which  warrant  the  use  of  a  band, 


C.  P.  S.  Co.  176- 70 


42 


Sir  Roger  de  Coverly 


or 
VIRGINIA    REEL 


The  Sir  Roger  de  Ooverly,  which  antedates  the  Virginia  Reel  was  a  dance  of  considerable 
dignity  and  character.  "While  a  socalled  Country  or  Contra  Dance,  it  was  in  line  of  direct  de- 
cent from  the  charming  dances  of  past  centuries  and  retains  many  of  their  graces .  It  w^as  en- 
tirely a  social  dance,  a  display  of  courteous  manners  rather  than  an  excuse  for  roughness. 
The  first  figure,  "Cavalier  and  Lady"  was  the  visiting  figure  in  which  couples  walked  forward, 
sedately  bowing  and  indulging  in  various  forms  of  greeting.  The  second  figure  "The  Reel" 
or  "Reeling"  was  livlier.  In  the  "Grand  March"  the  gentlemen  drew  their  protective  swords  for 
the  arch  under  w^hich  the  ladies  passed.  With  this  in  mind  a  very  dignified  and  interesting  dance 
w^ill  result. 

FORMATION:  Sixteen  people  form  in  couples,  four  couples  on  a  side,  gentlemen  placing 
all  ladies  to  their  right .  This  alternates  lady  w^ith  gentlemen  instead  of  all  men  on  one  side 
and  ladies  on  the  other.  The  step  should  be  a  walk  for  the  first  part,  a. skip  for  the  reel  and 
marching  for  the  last .  Avoid  romping  and  use  the  fingertips  in  taking  the  hands  of  thp  danc- 
ers, carrying  the  arm  well  raised  fr^ih  the  shoulder.  The  lady  should  raise  the  skirt  lightly 
w^ith  the  disengaged  hand.  In  the  dos-a-dos  Ithe  skirt  should  be  gracefully  held  with  both 
hands.  All  the  figures  are  danced  double  or  in  couples  instead  of  single  people,  the  more 
familiar  w^ay  known  to  us.  Three  contrasting  sets  of  music,  such  as  were  used  for  this  dance 
are  given. 

1.  Cavalier  and  lady:    Two  couples  approach  from  opposite  corners,curtsey,  take  right  hands, 
left,  both,  dos-a-dos  as  in  our  Reel,  alternating  couples  from  side  to  side.     In  turning  in  the 
middle  be  sure  and  turn  entirely  round  and  return  to  place  backward  the  gentlemen  leading 
the  lady. 

2.  Reel:     Tw^o  couples  down  the  middle  and  back.    Form  the  line  at  the  head  by  each  gen- 
tleman facing  his  lady,  joining  right  hands  and  half  chaining  forvs^ard  to  the  next  person  form- 
a  chain  of  six,  then  returning  to  partner  again  and  chaining  in  the  opposite  direction, thus  com- 
ing down  the  line,  reeling  with  each  person  in  turn.  This  forms  a  very  pretty  figure   the    test 
of  vi^hich  is  that  a  gentlemen  and  lady  are  always  dancing  together. 

3.  March:  When  the  two  head  couples  have  danced  down  thru  the  line  in  this  way,  they 
promenade  up  the  center  and  lead  off  down  the  sides  all  the  other  couples  following.  The  first 
tw^o  gentlemen  draw  swords,  forming  arch  for  the  others  to  march  under,  ladies  placing  them- 
selves to  the  right  of  their  partners.  This  leaves  the  former  head  couple  at  the  foot,  with  the 
second  couple  at  the  head.  When  all  the  couples  have  danced  thru  these  figures  a  march  may 
be  formed  preparatory  to  the  guests  making  their  adieux  to  host  and  hostess  at  the  door. 


C.F.S.  Co.  175-70 


Sir  Roger  d.e  Coverly. 


43 


Cavalier  and  Lady. 

Moderate 


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C.F.S.  Co.  176-70 


44 


March 


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C.KS.  Co.  175-70 


45 


COUNTRY  DANCE 


Cavalier  and  Lady. 

Moderato. 


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C.ES.  Co.  175-70 


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Reel.    ^ 


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C.F.S.CO.J75-70 


48 


No.l. 


Moran's    Cottillion. 

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PANTALON  -  1st  Fig-ure. 

I—  First  and  second  couple  rig^ht  and  left,  balancez, hands  round. 

II.—  Ladies  chain.    Promenade  half  right  and  left  to  places  the  same  by  the  3rd  and  4th  couples. 
Formation:    These  dances  Are  formed  in  simple  Quadrille  figfures  in  vog"ue  during"  the  early  part  of  the  lastcentur} 

A  reintroduction  to  this  old  fashioned  figure  dance  is  in  refreshing  contrast  to  the  "rag'time"  epoch  thrt 
which  we  are  just  passing.  The  naively  sentimental  musical  setting-s  sugg-est  Godey's  Magazine  Ladies  and  the 
laced-in  Beaux  of  some  generations  ago.  Presented  in  the  costume  and  spirit  of  the  period  they  would  help  em 
belish  a    Pageant  or  Historic  prog-ram  or  add  to  the  charm  of  a  costume  dance; 

The  titles  of  the  pieces,  as  well  as  the  French  terms  for  the  different  figures,  are  retained  as  suggestive 
of  past  history  of  the  dance. 


CF.S.  Co.  175-70 


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No.  2. 


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L'ETE.- 2nd  Figure. 

I.  Forward  two  couples  dos-a-dos.  Chassez  to  the  right  and  left.  Balance  to  partners,hands  around.  Sides  same. 

II.  Sides  forward  change  partners, form  two  lines, forward  eight,    turn  partners  to  place,  repeat. 

C.P.  S.Co.175-70 


50 

No.  3. 


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LA  POULE.-  3rd  Fig-ure. 

I.  Rig-ht  hand  cross  over,  recross  give  left  hand  and  rig-ht  hand  to  partners  balancez,  promenade  to  opposite 
place. 

II.  Forward  2,  dos-a-dos,  forward  4  half  right  and  left  to  places. 

III.  First  lady  to  center,  balancez , four  gentlemen  circle  around  her,  turn  partner  in  place.        All  four  ladies 
repeat  figure. 


C.P.  S.Co.  1750-70 


51 


No.  4. 


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TRENIS.-4th  Figure 

I.  Chassez  crossing-,  g-entleman  of  the  first  couple  forward  and  back  with  partner,  forward  again,leave  pjirt- 
ner  in  opposite  place  and  return. 

II.  Ladies  and  opposite  g-entlemen  cross  over,  the  gentlemen  crossing  between  the  ladies,  recross  balancezto 
partners, hands  round  to  place. 

III.  Ladies  cross  right  hands, turn  half  around, cross  left  hands  back  to  place  and  right  hand  to  partners,  each 
gentleman  makes  his  partner  turn  under  his  rigiit  hand  on  the  pause.  All  give  right  hands  to  right  hands,  left 
to  left.    Ladies  in  the  center  and  curtsy. 


C.  P.  S.  Co.  1750-70 


52 


No.  5. 


JULIET 


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PASTOURELLE-  5th  Fig-ure. 

I. Gentleman  forward  and  back  with  partner,  forward  ag-ain, leave  partner    at  opposite  place. 

11.  The  two  ladies  and  g-entleman  in  the  centre  forward  twice,  the  sing-le  gentleman  forward  twice, all  four  give 
hards, form  a  circle  turn  to  right, to  opposite  place,  half  right  and  left  to  place.  The  same  by  the  2nd,  3rd  anc 
4th  couple. 


C.  F.  S.Co.  1750-70 


53 


No.  6. 


CLAIRE 


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L'ETE       Promenade.  6th  fig-ure. 

I.  Forward  2  cross  over,  chassez  rig-ht, left,  cross  over,  balancezto  partner,  two  hainds  round. 

II.  Ladies  chaine. 

III.  Promenade  all  around  and  seats. 


9.  F.S.  Co.  1750-70 


54 


Original  Lanciers. 


The  fig"ures  here  described  are  those  g-iven  by  the  famous  Mons.  Cellarius,  as  danced  by  the  Parisians 
and    hig-h  class  Londoners  of  over  fifty  years  ag"o.    The  directions  are  after  Allen  Dodworth,  who  later  popu- 
larized the  Lanciers  in  America,  making-  several  versions  of  his  own,  notably  the  Saratog-a  and  New  York  Lan- 

'"'^^^  INTRODUCTION. 


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C.F.S. Co.  1750-70 


FIRST   FIGURE. 

Salutation  to  partners  and  corners     .     .     .      ... 8  bars 

First  Lady  and  opposite  gentlemen  forward  and  back A     » 

Same  Couple  forward  a  second  time,  turn  with  right  hand,  and  return  to  places  .     .4     » 
'  First  and  second  Couple  cross  over,   the  first  passing-  between  the  second  .  .     .     .4     " 

°5    Return  to  places,  second  passing  between  the  first 4     " 

1^"*    Balance     at  both  comers,  the  four  Ladies  balance    to  the  gentlemen  on  their   right, 
I  gientlemen  facing  to  the  left  to  receive  the  balance. 

Turn  with  both  hands,  and  finish  in  places 

Same  for  the  other  three   Couples. 

All  fig^ures  are  repeated  four  times  each  couple  beginning-  in  turn. 


55 


LES  LIGNES. 


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SECOND    FIGURE.     THE   LINES. 

First   couple  forward  and  back .    .4 

Forward  a  second  time  and  leave  Lady  in  front  of  opposite  Couple,  facing-  her  partner,  Gentle- 
men  returning-  to  place 4 

Chassez  to  right  and  left  (same   Couple) .  .4 

Turn  with  both  hands  to  place  (same  Couple) 4 

All  eight  forward  and  back  in  two  lines 4 

Forward  and  turn  partner  to  places. .4 

In  forming-  two  lines  1st  and  2nd  times,  the  two  side  Couples  separate  from  their  partners  and 
join  each  side  of  the  head  Couples  forming-  two  lines,  four  on  a  side,  3rd  and  4th  time  the 
head  Couple  join  the  side. 


56 


LES   MOULINETS. 


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THIRD  FIGURE.    THE   MILL. 

First  Gentlemen  and  opposite  Lady  forward  and  back .4 

Forward  a  second  time  and  salute,  (Courtsy     and  Bow,)  and  return  to  places .  .4 

The  four  Ladies  form  a  Windmill  by  giving  their  right  hands,  the  four  Gentlemen  take  their  part- 
ner's left  hands,  with  their  left  hands,  all  facing  the  same  direction  and  promenade  entirely 

round  and  turn  partners  in  places 8 

In  place  of  the  Windmill,  sometimes  make  a  double  Ladies'  chain:      Four  Ladies  cross  hands  with 
ri^t  hcind  half  round  the  circle,  turn  the  opposite  Gentlemen  with  left,  cross  hands  half 

round  £igain,  and  turn  partners  with  left  hand.  Same  for  the  other  3  Couples. 


57 


LES   VISITES, 


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FOURTH    FIGURE.  THE  VISIT. 

First  Couple  visit  the  Couple  on  the  right,  salute  with  bow  and  courtsy .     .     .4 

Visit  the  Couple  on  the  left  and  salute  .     .     ......     .     . 4 

Chassez  across  four  with  the  Second  Couple  visited  .     . 4 

First  Couple  return  to  place 4 

Right  and  left  with  opposite  Couple . 8 

This  figure  may  be  danced  double,  viz:    First  and  opposite  Couple  visit  the  rig^ht  hand  Couple 
and  then  the  left.  Chassez  across  and  return  to  places   and  right  and  left. 


C.  P.  S.  Co.  1750 -70 


58 


LES  LANCIERS. 


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FIFTH  FIGURE.    THE  LANCIERS. 

Grand  chain,  or  grand  chain  rigfht  and  left  half  way  round  meet  and  salute  partners,  complete  chain 

and   salute  .  Dance  spiritedly 16 

First  couple  promenade  round  inside,  face  to  front,  all  follow  joining"  in  line 8 

All  chassez  across,ladies  to  left  and  g"ents  to  right,  three  slides, balance2,return,  balance     ....  8 

March  round,  head  couple  separate,  all  follow  outward  to  foot,  join  hands  march  to  head  and  repeat.  8 

All  forward  in  lines,  salute,  repeat  backward  and  forward,  take  partners  and  turn  to  place 8 

All  couples  commence  with  grand  chain  and  finish  with  same  a  fifth  time. 


59 


Tlie  Quadrille. 


Even  in  its  decadent  days  the  Quadrille  stood  preeminently  for 
sociability,  good  fellowship  as  well  as  good  form.  Interpreting 
the  figures  literally  you  find  the  "forward  and  back /'"balance  all" 
"cross  over"  merely  the  polite  greetings  and  meetings  of  an  or- 
derly drawingroom  full  of  people,  vieing  with  each  other  in  the 
expression  of  social  amenities  and  graces. 

The  Quadrille  was  the  dance  of  our  pioneer  forbears  when 
"quilttn  bees"  and  "bain  raisins"  called  the  neighbors  together  for 
miles  around.  These  occasions  were  always  concluded  with  a 
dance,  the  presiding  genius  of  w^hich  was  the  old  fiddler  w^ho 
scraped  from  his  strings  such  lively  tunes  as  the  "Arkansas  Tra- 
veler" "Devils  Dream"  the  dancers  responding  to  his  raucous  calls 
until  beams  and  rafters  creaked.  As  a  national  dance  the  Quad- 
rille still  holds  sw^ay  in  the  mining  camps  and  on  the  cattle 
ranches  of  the  far  North  and  "West.  "41  ere  it  again  serves  the 
primitive  purpose  of  the  dance,  the  bringing  together  of  isolated 
social  groups.  In  the  quaint  vernacular  of  the  Cow^boy  calls,  one 
traces  resemblances  to  past  greatness,"Chicken  in  the  middle"  or 
more  politely  speaking  "Birdie  in  the  cage  "is  distinctly  remini- 
scent of  its  French  progenitor  La  Poule  i'The  Hen"  virhich  is  now 
danced  "Lady  balance  in  the  center,  gents  four  hands  round." 


C.  p.  S.  Co.  1750 -70 


60 


American   Qutadrille 


A  LIFE    ON   THE  OCEAN  WAVE. 


INTRODUCTION 
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BASKET   QUADRILLE  FIGURES. 

FORMATION     Quadrille. 

Eight  hands  round —  eig-ht  bars.    First  four  rig-ht  and  left  eig"ht  bars.  All  balance  partners  four  bars. 
Turn  four  bars.   First  four,  ladies  chain  eight  bars.    Balance  corners  four  bars.   Turn  four  bars.      All  pro- 
menade eight  bars.      Sides  the  same.     Repeat  music  if  necessary. 


r  V  a   rr.  i'7fin-7n 


LITTLE  BROWN  JUG 


61 


INTRODUCTION 
Allegretto 


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First  couple  forward  and  back— four  bars.  Leave  lady  opposite— four  bars.  Three  hands  round  there- 
four  bars.  Ladies  cross  over,  three  hands  round  there,  four  bars.  All  balance  partners,  four  bars.  Turn  to 
places  four  bars.    All  promenade  eig"ht  bars.    Next  couple  forward  etc.    Repeat  music  if  necessary. 


INTRODUCTION 
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First  two,  rig"ht  hand  across,  four  bars.  Left  hand  back  into  line,  four  bars.  Balance  four  bars.  Turn 
to  places  four  bars.  Ladies  grand  chain  eight  bars.  All  promenade  eig^ht  bars.  Next  two  rig-ht  hand  across 
etc.     Repeat  music  if  necessary. 


THE  MINSTEL  BOY 


63 


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INTRODUCTION 
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First  couple  lead  to  the  ng'ht,  four  bars.  Four  hands  round  there,  four  bars.  Rig"ht  and  leftwiththe 
next  couple  aig-ht  bars.  Ladies  chain  with  the  next  couple  eig^ht  bars.  All  promenade  eig"ht  bars.  Next  cou- 
ple, etc.  Repeat  music  if  necessary. 

DIXIE 


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Basket.  Eig-ht  hands  round,  eig-ht  bars.  Ladies  all  forward  and  back  four  bars.  Forward  ag-aiii  and  join 
hands,  four  bars.  Gentlemen  round  eig-ht  bars.  Form  the  basket  and  balance.  Turn  to  places.  Repeat  with  gren- 
tlemen  forward,  etc.  End  with  all  promenade.  Repeat  music  if  necessary. 


64 


La   Tempete  Originale 


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FORMATION.     Lines  of  two  couples,  facing-  each  other,  the  length  of  the  room. 

I.  Couples  join  hands,  forward,  bow;  back  and  bow;  swing-  to  place. 

II.  Chassez  with  opposite  partner,  down  the  room  and  back  to  place;  then  in  opposite  direction,back  to  place. 

III.  Couples  cross  rig-ht  hands  and  mill  to  the  left  half  way  round;  left  hands  to  place;  repeat  in  opposite  di- 
rection. 

IV.  All  forward  and  back;  forward  and  pass  thru  two  lines.  In  this  way  all  chang-e  positions.  End  Couples 
should  turn  around  to  face  oncoming-  couples.  Repeat  until  all  couples  have  danced  thru  The  end  couples  must 
turn  and  work  back  in  the  other  direction.  Where  there  are  many  dancers  they  may  form  in  fours  instead  of  twos. 


La  Boulangere 


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La  Boulang-ere  is  a  French  country  dance  of  great  antiquity.  In  the  present  day  it  is  used  for  the  concluding- 
dance  in  the  same  way  that  the  Sir  Roger  de  Coverley  is  in  England. 

This  quaint  old  verse  La  Boulangere  (The  Bakeress)  is  chanted  along  with  the  dance.  The  tune  is  of  the 
continuous  kind. 

"La  Boulangere  a  des  ecus 
Qui  ne  lui  content  gurre, 
Elle  en  a  je  les  ai  vus 
Jai  vu  la  Boulangere  " 
FORMATION.    The  gentlemen  and  partners  place  themselves  in  two  circles,  the  gentleman  facing  inwards  and 
the  ladies  outward, join  hands. 

I.  They  dance  in  opposite  directions  once  round  the  circle  still  keeping  hands;  when  they  come  back  to  their 
places, the  leading  couple  begins  the  figure. 

II.  The  gentleman  with  his  right  hand  takes  his  partner's  right  hand,  turns  once  round  with  her  and  then 
leaves  her.  After  which  with  his  left  hand  he  takes  the  lady  next  in  rotation,  then  returns  to  his  partner,  again 
giving  his  right  hand  as  before,  his  left  to  the  lady  standing  next  in  the  circle,  and  so  on  to  the  end,  always  al- 
ternatly  turning  his  partner;  she  in  the  meantime  when  he  leaves  her  continues  to  turn  by  herself  inside  the  cir- 
cle, keeping  as  far  from  him  as  she  can.  When  this  couple  arrive  at  their  own  place  again,  the  whole  number 
join  hands  as  before,  turning  round  in  a  circle,  the  next  couple  to  the  right  dancing  the  same  figure.  When  the 
party  is  very  large,  two  couples  may  begin  at  the  same  time,  one  at  the  top  and  the  other  at  the  bottom  of  the 
room. 

Le  Carillon  de  DiinkerqiJie 


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Le  Carillon  de  dunkerque  is  the  merriest  and  noisiest  of  all  the  old  French  country  dances.  Ii  is  called  the 
Mother  of  the  Gavotte. 

FORMATION.  The  gentlemen  select  their  partners  and  place  themselves  as  for  a  Quadrille  or  in  a  circle. 
It  is  of  no  consequence  if  the  number  of  couples  is  not  equal,  the  more  the  merrier. 

I.  All  salute, balance  and  turn  with  their  partners, the  gentlemen  finishing  with  their  faces  toward  the  la- 
dies, and  their  backs  to  the  centre  of  the  Quadrille  or  circle.  Then  all  the  ladies  and  gentlemen  clap  their  hands 
three  times  and  then  stamp  on  the  floor  three  times,  and  finish  by  turning  round  with  their  new  partners.  This 
figure  is  again  begun  and  repeated  until  the  gentlemen  meet  with  their  own  partners,  after  which  the  ladies  per- 
form the  figure  in  the  same  manner  with  the  gentlemen. 

C.F.S. Co.  1750-70 


66 


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Krencli  Country  Dance 

(Qarcon  Volange) 

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This  is  one  of  the  many  Country  Dance  tunes  popular  during  last  century  danced  at  Harvest  gatherings.  Its 
spirit  of  rollicking  fun  is  most  appropriate  to  such  occasions.  The  figures  are  repeated  until  the  company  is  tired 
out.  This  is  excellent  for  a  costume  dance.  The  best  formation  is  for  four  couples  in  Quadrille  set.  As  many 
sets  as  you  like. 

I.  Begin  with  grand  chain,  (grand-right-and-left)  giving  right  hand  to  partner,  left-right-left,  joining  both 
hands  with  partner,  milling  quickly  around  and  stamping  four  times.  Again  proceed  forward  as  before  milling 
in  place  with  partner,  finishing  with  stamps.   Step,  lively  skip. 

II.  Face  partners  and  "pease  porridge" right- left, both-own, four  times, repeat  with  partner.  Turn  toone be- 
hind and  play  in  same  manner. 

III.  Turn  and  face  partner,  arms  akimbo,  stamp-throw,  left  foot  over  right- left-right,  joining  hands  run  a- 
round  in  place  to  the  left  and  pass  on  to  the  next.  Repeat  this  until  you  have  come  round  the  circle  back  to 
your  own  partner.     Repeat  the  music  until  you  are  thru.    At  the  close  skip  off. 


C.P.S.Co.  1750-70 


Spanishi  Dance. 


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The  much  loved   Spanish  dances  and   music,  too  difficult  for  general  adoption,  led  to  easy  arrange- 
ments like  the  following-  in  which  all  could  join. 

FORMATION.  This  can  be  danced  by  any  number  of  couples  and  continued  as  long"  as  desired.  The  first  couple 
will  take  its  position  at  th^  head  of  the  room,  facing-  the  other  end.  The  next  couple  face  the  first  and  so  on  thru- 
out  the  len^h  of  the  room,  every  two  couples  facing-  each  other. 

I.  Couples  forward  and  back,  forward  ag-ain  and  exchang-e  partners  turning-  to  the  left  half  way  roundto  rig-ht  an- 
^e  with  first  position.  Again  forward  and  back,  chang-ing-  to  first  partner  again  turning-  on  the  right  ang-le.  Two 
more  turns  like  this  brings  each  couple  back  to  original  place. 

II.  Mill,  joining  right  hands  and  turning  to  the  left  once  around;  join  left  hands  and  return  to  place. 

III.  Then  slow  waltz  forward  once  and  a  half  around  which  leaves  each  couple  opposite  a  new  couple.  Repeat,  the 
odd  end  couple  either  standing  still  or  dancing  in  place.  All  the  dancers  must  go  forward  in  the  direc- 
tion of  the  first  facing. 


68 


Tlie  Xempest. 


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FORMATION.    Couples  form  side  by  side  in  lines  facing'  each  other    three  or  four  couples  on  each  side. 
I. Head  couples  down  the  center-one  couple  from  each  side-four  abreast.  Couples  part  at  foot,  swingoutward  and 
come  up  abreast,  facing-  the  next  couple  below  them  on  starting-.  The  next  figure  now  begins  with  the  two  couples 
on  each  side. 

II.  Balance  forward  and  back,  swing  four  hands  once  and  a  half  round,  visiting  or  head  couples  then  pass  under 
raised  hands  of  the  other  couple  and  again  promenade  four  abreast  to  the  foot  of  line,  casting-  off  on  opposite  side 
from  which  they  started.  * 

III.  As  the  dance  proceeds  the  lines  move  up  and  the  leading  couples  in  turn  perform  the  figures  and  cast  off  as  a- 
bove,  visiting-  all  the  other  couples  in  the  set.  Only  two  couples  dance  at  a  time. 


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FORMATION.    Sets  of  six  couples  facing-. 
I.  First  couple  dOwn  the  outside,  at  the  same  time  foot  couple  up  the  middle;  first  couple  down  the  middle,  cast  off; 
at  same  time  foot  couple  up  outside  and  back. 
TT  T  nHiAQ  rhain  fir<it  four:  ripht  and  left  with  next  four  swine-  to  foot.  Repeat. 


Cicilian  Circle. 


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Form  as  for  Spanish  dance— all  balance,  swing- four  hands— ladies  chain— balance  and   turn —  rig"ht  and  left 
all  forward  and  back— forward  again,  pass  to  next  couple.  One  couple  raises  hands  ^^^ile  other  passes  thru. 

Arkansas    Traveler. 


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Balance  first  6,  chassez  half  round,  balance  again.  Chassez  round  to  place.  First  four  cross  hands  ha 
round,  swing  partners,  cross  hands  round  to  place:  first  couple  swing  quite  round,  down  the  center  back,  cast  off 
right  and  left.    Couples  form  in  lines. 


C.F.S.Co.1750-70 


70 


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FORMATION.    Couples  in  lines  facing-. 

I.  First    couple  join  right    hands  and  swing-  once  and  a  half  round,  go  below  second  couple  (the  first  lady 
goes  below  the  second  g-entleman  on  the  inside)    (first  gentleman  at  the  same  time  goes  below  and  between  sec- 
ond and  third  ladies.) 
II. Forward  and  back  six,  first  couple  swing-  three  quarters  round. 

III.  First  g-entleman  goes  between  second  couple  (on  the  insidej  first  lady  goes  between  the  second  couple  (on  the 
inside)  forward  and  back  six,  first  couple  swing-  three  quarters  round  to  place  (below  one  couple.) 

IV.  Right  and  left  four.  Repeat. 

Old  Dan  Tucker. 


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FORMATION:  Many  popular  versions  of  this  old  romping- dance  claim  our  attention.    Form  in  two  rings  la- 
dies inside  and  gentlemen  outside  while  Dan  stands  in  the  middle. 

I.  All  join  hands  and  dance,  ladies  to  the  left  and  gentlemen  to  the  right;  at  a  clap  or  a  whistle  g-entleman  dances 
with  the  lady  in  front  of  him,  Dan  claiming-  one,  leaves  one  man  over  to  beg-in  ag-ain. 

II.  A  short  waltz  or  two  step  is  inserted  by  musicians  when  song-  begins  again.  Couples  may  dance  round  in  a 
single  circle  in^he  same  way  with^Dan  on  inside.  The  popular  Paul  Jones  is  on  the  same  order,  starting- 
with  a  g-rand  chain  until  the  call  or  whistle  sounds.  The  call  may  be  omitted,  the  figfures  changing-  -with 
music. 


Yes  Old  Dan  Tucker  is  a  nice  old  Man, 

He  washed  his  face  in  a  frying  pan 

We  sent  him  whizzing-  to  the  bottom  of  the  hill 

If  he's  not  got  up  he's  lying-  there  still. 


Clear  the  way  for  old  Dan  Tucker 
Who  came  too  late  to  g-et   hi4  supper. 
Clear  the  way  for  Old   Dan  Tucker 
For  he's  a  nice  old  Man. 


C.P.S.Co.1750-70 


Pop  goes  tine  A?V^easel 


71 


FORMATION.   Couples  place  themselves  in  opposite  rows,  men  on  one  side  and  ladies  on  the  other.  Eig-htor 
ten  couples  Is  the  usual  number.  Other  sets  can  be  formed.  Also  danced  in  a  circle,  Couples  facing-. 

I.  First  couple  down  the  outside  and  back  four  measures.  Down  the  center  and  back  four  measures.    Swing-  three 
hands  once  and  a  half  round  with  second  lady. 

II.  First  couple  raise  their  hands,  second  lady  passes  under  them  to  place  at  the  word  "pop" 

III. First  couple  swing-  three  hands  with  second  g-entleman,  first  couple  raise  their  hands, second g-entleman pass- 
es under  to  place.     Continue  down  lines.  Repeat. 

Patronella . 

Country  Dance. 


FORMATION.     Four  couples  form  in  column,  all  facing-  one  way.  Step,  hop-polka  very  lively. 

I.  Two  head  couples  cross  right  hands  and  mill  to  left  four  measures.  Chang-e  hands  returning- to  right  four  mea- 
sures. Repeat  in  opposite  direction. 

II.  Head  couple  dance  down  the  middle  two  meas.  right  hands  joined;  then  turn  to  head  and  down  the  outside, 
all  following-  the  leaders  back  to  the  head.  These  then  cast  off  as  the  next  four  mill.  This  continues  until  all  have 
lead,  or  as  long  as  you  like.  The  step  should  be  a  decided  hop. 


72 


Captain  vJinkis. 


Allegro       March  to  the  right,  clapping  hands,  ladies  directly  in  front  of  gentlemen 


'^0 


^m 


5 


y^ 


Swing 


i 


feE=5 


r^' 


I  0 


Im 


r 

Cap-tain  Jinks  of  the 


HorseMa-rines  I 


m 


t 


J  itj  i) 


J  i)j  i 


feed  my  horse  on 


corn  and  beans.  Al  - 


J    i)J    i) 


^JU-i- 


r 

tho     it's  quite   be 


J    iJ    i 


r 


r 


r 


r 


iarfy  mwanrf  dance   around  arid  step  fbrward  with  the  music.  Walk  forward  with  lady  in  a  prancing  way . 


jhnT^ 


i^ 


^ 


W 


« — » 


?## 


^ 


r^ 


that's   the  style    in     the 


yond     my  means,  For 


t):^  J^  i)  J    i): 


J  i'J    ^ 


Arm      -       y.       I 


teach    the      la  -  dies 


=^l 


how     to     dance, 


=^=l 


f^^ 


=^ 


OroiBing  hands 


tf  j     i'J- 


Twrn  lady  in  front  of  you  with  a  deep  bow. 


-j-j'rra 


• — 0- 


P^^ 


a  =31 


^^^j 


^ 


0      0 


r=^ 


r 


# • — 0 


how     to     dance, 


how      to  dance    I 


teach    the     la  -  dies 


how     to  dance    for 


^n^f  f  f  ? 


^ 


^^^5 


^E^5 


that's   the  style      in     the 


Give  partner  right  hand  and  pass  her  on  to  next  gentleman  stoi'iigpromenade  to  the  end  of  music  with  the 


. ^ ^ ^  ' 


Arm-y.  Sa- 


^ 


^^ 


f 

lute  your  part-nerand 


\ 


r^ 


turn  to  the  ri^t  And 


i-^ 


r 


^S 


swingyournei^-bor  with  all  your  might, Promenade*  all  'tis 


\^^ 


^^ 


l~^ 


i 


a-         0 


>U. 


new  parter. 


s 


^ 


^ 


ri 


^ 


Promenade  to  finish  and  repeat  each  time  gaining 


i 


^^ 


^m 


1 


r=f 


la  -  dies  night,  For 


this  is  the  style  in   the 


m 


k^. 


Arm  -  y. 


Hj 


w  *"r  WW  WW  rw  ww  ^mw  ww  rw  rw  wt  *"r  w 


M 


new  partner. 


T=¥f^=f 


^ 


^^ 


^ 


tJ 


^^ 


-^-lU' 


f 


^ 


ffl-  W' 


^ 


JJJJJJJJJJJ  ^JJJJJJJJJ  ^^^=^^ 


The  description  of  the  dance  is  shown  in  the  adaptation  of  the  words  of  this  once  popular  Marine 
song  of  fifty  years  ago,  now  being  revived  as  an  American  dance. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 
LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 
Th.s  book  ^s  a      ^^^^  ^^  ^^.^^  ^^^^^^. 

Renew  books  are  subject  toimmed^ateje^U^ 


Ln21A-50m-9,'58 

(6S89slO)4-6B 


General  Library     . 
University  of  California 
Berkeley 


YE  03126 


^TTVTVFRSTTY  OF  CAI 'F' 


